Regional inheritance in the inheritance of Zhongyang Luliang folk paper-cutting
The regional inheritance here mainly refers to the similarity and imitation of paper-cut works in the same region in content, subject matter and style. On the whole, most of the traditional paper-cut patterns in Zhongyang paper-cut express natural phenomena in real life, such as mountains, rivers, trees, flowers, birds, insects, fish and other things close to life, exuding a strong local flavor. There are also paper-cuts that contain various folk beliefs and ideas, such as the psychology of exorcising evil spirits and seeking good luck, eliminating disasters and diseases, as well as paper-cut themes that express folk myths and legends.
However, looking at the two overall areas of the Nanchuan River Basin and the remote mountainous areas of Liujiaping and Xishan, the paper-cuttings along the Nanchuan River are richer in content and the themes are relatively new; while the paper-cuttings in Liujiaping and the remote mountainous areas of Xishan show a naive and simple style. , and at the same time, because these two regions are relatively closed and less affected by foreign cultural influences and impacts, they can maintain relatively stable characteristics. On the other hand, this closedness has somewhat hindered the development of Zhongyang paper-cutting. In the process of interviewing folk paper-cutting artists, the author found that paper-cutting artists in the Nanchuan River Basin usually have more contacts and have more opportunities to exchange paper-cutting skills. Their paper-cutting shows an open trend; while those in Liujiaping and remote mountainous areas of Xishan Paper-cutting artists usually have little contact, and there is almost no exchange of paper-cutting samples and paper-cutting techniques, so there is little innovation and development.
Among them, the paper-cutting artist Gao Zhufan is the successor of Zhongyang paper-cutting style in the remote area of ??Xishan. Her work is very similar to her character. The cheerful and straightforward character, the rough and bold, simple and simple paper-cutting reflect the local folk customs and humanistic characteristics. Due to inconvenient transportation, many primitive and simple traditional works in the mountains are still popular among the people. During events such as childrens marriages and daughters marriages, birthdays and birthdays, annual customs and religious activities, she often cuts various kinds of dolls for friends in the village and around the corner, adding to the festive atmosphere and expressing her familys hope for wealth, peace, children and children. Lus wishes. For the representatives of Zhongjian members, there are "Exorcism Doll", "Praying for Rain", etc. The divisions between the above two approaches are only relative. In real life, these paper-cut makers are often influenced by many aspects, that is to say, they learn through many ways. Judging from the current situation, Zhongyang paper-cutting has common characteristics of the inheritance of general folk crafts, such as collective characteristics, that is,Collective creation, collective communication, etc. In addition, it also reflects the uniqueness that is different from other folk craft inheritances. First, it is spontaneity. Zhongyang paper-cutting has always been in a state of unconscious spontaneity.
Since this process does not require complicated tools or complicated processes, almost anyone can make it at any time, so the skill of paper-cutting artists depends entirely on their personal understanding, and there is usually a lack of communication with each other, so Zhongyang Under the constraints of this spontaneity, paper-cutting has no multi-dimensional development of product value and no technological innovation. It is only declining with the death of some old artists. The second is decline. Zhongyang paper-cutting is on the decline, which is marked by the gradual death of old artists and the lack of successors. This is the most worrying problem. Since the 1990s, the situation of paper-cutting has been getting worse and worse, and many traditional functions of paper-cutting are disappearing. Paper-cuts, originally used for festivals and decorative clothing, are rarely used in peoples daily lives due to changes in modern housing and the trend of clothing. They are mainly used as exhibits in exhibition halls. On the contrary, with the development of modern tourism and market economy, Zhongyang paper-cutting has found a place in the urban market, become a contemporary folk tourism handicraft, and new creative tendencies have emerged. Its practical function is gradually fading away, and it is constantly transforming into an aesthetic function. There is also a gratifying development trend in the materials, techniques, composition and inheritance of paper-cutting.
