Expression and comparison of folk paper-cut patterns in the north and south
Chinese folk art is the art of mentality. Chinese paper-cutting inherits the main theme of the modeling concept of Chinese painting, that is, it does not pay attention to focus perspective, but uses multiple viewpoints and angles to observe and express objects according to the creators own wishes. There are more subjective factors in the whole process. These subjective factors are important reasons for the formation of the characteristics of paper-cut patterns in northern and southern China.
Contemporary litterateur Mr. Guo Moruo once summarized my countrys folk paper-cutting: "I once saw the window flowers in the north, which had an innocent and rich flavor. Now I see the paper-cutting in the south, which is so exquisite and clear as never before." This poem is a reflection of the "Northern China" paper-cutting in my country. Description of the overall characteristics of "Brave Nanxiu". "Bei Ruo Nan Xiu" refers to the simple, rough, bold and unrestrained northern style of Chinese folk paper-cutting and the beautiful, bright, exquisite and transparent southern style. Different regions, under the inheritance and influence of their respective customs, humanities, and artistic forms, present different "rough" and "showy" styles. Northern folk paper-cut graphics in the same region also present different modeling characteristics depending on the region. , As for the paper-cut graphics in the southern region, except for Hunan and Yunnan-Guizhou regions, which have large inter-regional style differences due to the concentration of ethnic minorities, the Huaihe Yangtze River Basin, Jiangsu and Zhejiang and other regions have relatively small inter-regional style differences within the same region.
The birth of any art form is not accidental. It is a process of learning and brewing based on one or several existing art forms. The performance of folk paper-cutting in northern my country is influenced by art forms such as portrait stones and portrait bricks. The folk paper-cutting in the south, which uses carving and cutting technology as a means, is no exception. It was born in the exquisite carving and cutting technology in ancient times in the south. New Year pictures , embroidery, woodblock watermark and other art forms have penetrated into his style.
The creation of folk paper-cutting in the north is the exclusive preserve of working women, with almost no men participating in the creation. However, the developed and active culture and economy in the Yangtze and Pearl River basins in the south have given birth to a large number of paper-cutting artists and paper-cutting craftsmen. Their participation has broken the previous folk paper-cutting Patented mainly by women, paper-cutting has become a folk cultural activity shared by men and women with multiple modes of creation and inheritance.move. W?lfflin used the example of tree branches to clarify the meaning of style in "Art Stylistics": "This is not because we can identify painters from isolated stylistic features, but because all elements of the sense of form are reflected in even the "In the smallest section of the branch."
Art style is the standard for distinguishing art types, personality characteristics and even overall cultural types. It is not isolated, it is the sum of various factors expressed in art forms. The similarities and differences between the northern and southern styles of Chinese folk paper-cutting are not only reflected in the composition, shape and other external forms of the works, but first of all, they are reflected in the material and spiritual role played by folk paper-cutting art in folk culture. It reflects the practical and spiritual characteristics of the Chinese nation and folk culture.
