The inheritance and research of Chinese folk traditional paper-cutting
The study of paper-cutting emerged in the first half of the 20th century. In the early days, it was mainly about collecting patterns such as window grilles. After the founding of the Peoples Republic of China, a large number of books on paper-cut patterns were published in various places. Currently, there are more than 1,400 articles on paper-cutting and more than 450 books on paper-cutting. Paper-cut research has shifted from collecting and introducing patterns to aspects such as history, function, connotation, and denotation, and has achieved fruitful results. Here, we sort out the inheritance of paper-cutting and find that relevant scholars have discussed the inheritance and modernity of paper-cutting, paper-cutting research objects and academic orientations, inheritance and protection of paper-cutting, and research on paper-cutting inheritors.
1. Paper-cut inheritance and modernity
As paper-cutting gradually enters the field of mass consumption and circulation and is widely circulated as a cultural symbol, articles reflecting on and criticizing paper-cutting as a cultural symbol are also gradually increasing. For example, Li Songs "Chinese Folk Paper-cutting as a Symbol of Cultural Diversity—Also on Local Culture and National Awareness in the Context of Globalization" discusses paper-cutting as a cultural symbol in the context of globalization and national consciousness. Jin Huis seven articles in "Paper-cutting Art: From Tradition to Contemporary Context" point out that in ancient times, the social function of paper-cutting art was mainly used in folk customs; in contemporary times, paper-cutting art continues to develop with the times, and in the wave of economic and cultural globalization , such as new concepts and new ways of thinking, have changed the individual expression of paper-cut art in time and space, forming a contemporary context for paper-cut art, which is mainly reflected in the transformation of paper-cut art from socialization to art. , the transformation from traditional civilization to modern civilization, believes that paper-cut art in the contemporary context is the result of the localization of art in the context of globalization, and is also the interactive relationship between national local art and contemporary art. Similar articles such as "The Modern Evolution of Paper-cutting" by Rao Xiuguang. The article adopts the perspective of cultural criticism, reflects on and summarizes the symbolic tendency reflected in the development process of paper-cutting, and realizes the significance of the complete collection of paper-cutting patterns as cultural symbols. Paper-cutting, a traditional cultural symbol, has entered the modern context and has been continuously transformed.
2. Criticism of paper-cut research methods and academic orientation
In the 1980s, with domestic attention to the study of ethnic and folk culture, scholars began to pay more attention to paper-cutting art.Reflections and questions were also raised on the research units, research methods, and academic orientation of the technique. Papers in this area include Xing Chenshengs "My Opinions on the Research Phenomenon of Folk Paper-cutting." The article affirms the exploration of the theory, shape and techniques of folk paper-cutting in the field of paper-cutting research in recent years, but believes that there are common sense errors in the research methods and starting points, that is, the characteristics of folk paper-cutting culture are not understood, and it is necessary to understand the cultural phenomenon of folk paper-cutting. Systems and methods of inheritance, dissemination and functionality should be explored. Criticize those research methods that collect specimens. The author emphasizes the need to get rid of the influence of British and American culture and pay more attention to those cultures without writing. He hopes to use this as a breakthrough in studying folk culture and make judgments on the future development of paper-cutting. He hopes to use it as a frame of reference and comparison for the entire cultural system. Broaden the world of survival and development of folk paper-cutting. This article is an excellent work on the exploration of paper-cut theory in the 1990s. With sharp writing and sharp thinking, the author pays attention to the basic concepts, methods, academic orientation and other issues in paper-cut research, and directly points to the value orientation of researchers. As far as paper-cut research methods are concerned, life-world-oriented research can provide more adequate objects for paper-cut research. The publics interpretation of paper-cutting is different from academic text research and has more significance for the subject of life.
3. Inheritance and protection of paper-cutting
After 2002, there began to be an upsurge in the country to apply for intangible cultural heritage. Focusing on the application of paper-cutting as a World Heritage, seminars organized by the Central Academy of Arts and Crafts, the Central Academy of Fine Arts and other higher education institutions, especially experts in arts and crafts, and the application projects of local governments have driven the prosperity of paper-cutting and research activities. Represented by "Exchange and Collaboration: Proceedings of the First Intangible Cultural Heritage Education and Teaching Symposium in Chinese Universities" and "Focus on the Mother River: Chinese Intangible Cultural Heritage·Folk Paper-cutting International Academic Symposium" edited by Qiao Xiaoguang. The former focuses on the role and impact of intangible cultural heritage such as paper-cutting in higher education. The latter focuses on the status and significance of paper-cutting in Chinese culture. In collections of essays such as "The Inheritance and Development of Chinese Folk Paper-cutting" by Jin Zhilin and "Focus on Inheritance" by Song Zhaolin, they focus on the discussion from the perspective of the inheritance of paper-cutting. A similar collection of papers is "Research on Chinese Folk Paper-cutting" edited by Chen Jing.
4. Paper-cutting inheritor
"Yan'an Paper-cutting" edited by Jiang Feng, in addition to 190 paper-cutting works, the book also includes biographies of folk paper-cutting authors in the Yan'an area, which introduces the paper-cutting artists' growth experiences, representative works, work style characteristics, and artists' living conditions in more detail. It is a precious material for the earlier study of paper-cutting artists in China. Although the introduction text is only a few words, it is enough to show the good intentions of the author who pays attention to the paper-cutting. In the 1990s, a large number of books about the inheritors and works of paper-cutting began to appear, such as "Gao Fenglians Western Paper-cutting Works" (1999)③ and Fan Zuoxins "Chinese Folk Zodiac Paper-cutting", which mostly focused on the introduction of patterns.Conceptually speaking, it has not exceeded the level of the authors biography attached to "Yan'an Paper-cut" in the early 1980s. As the research on the inheritors and inheritance of paper-cutting gradually deepens. For example, "The King of Chinese Paper-cutting" edited by He Baogui and others, "The Art and Life of the Genius Inheritors of Chinese Folk Paper-cutting" edited by Qiao Xiaoguang, and papers such as "A Flower in the Mountains and Fields: A Case Study of Henan Folk Paper-cutting Art" by Peng Ya. The academic community has noticed the impact of the growth experience of paper-cutting artists on their paper-cutting styles. And analyze it based on specific works, from the aspects of inheritance, modeling, techniques and other aspects. Generally speaking, the research on paper-cut inheritors has gradually shifted from the initial focus on patterns to the analysis of factors affecting paper-cut inheritors. Start an in-depth study of the life and world of paper-cut inheritors.
Generally speaking, research on the inheritance of paper-cutting has expanded from the initial folk art to the fields of ethnology, sociology, and history. Research in various disciplines provides useful reference for expanding the inheritance of paper-cutting. It can be seen that paper-cutting has increasingly separated from the inheritance matrix of the countryside and entered the national culture and global cultural context. As the intangible cultural heritage protection project advances, the inheritance of paper-cutting is becoming more complicated
