Author: Su Shi
The surging river flows eastward, and those heroes of the past are gone forever.
Old camp west, people say it's the war of the Three Kingdoms, Battle of Red Cliffs.
The steep rock wall, like thunder waves lapping against the river bank, waves like rolling up thousands of snow.
The majestic rivers and mountains are picturesque, and many heroes emerge at once.
Looking back on Zhou Yu's spring breeze era, young and beautiful Joe just married him, and he was full of heroic spirit.
A white figure with a feather fan came face to face, and while talking and laughing, the enemy warships burned to ashes.
I am wandering in the battlefield today. I feel a feeling heart and give birth to white hair prematurely.
Life is like a dream, sprinkle a glass of wine to pay tribute to the bright moon on the river.
Commentary: The Yangtze River flows eastward, the waves are rolling, and the heroes of the ages are gone. On the west side of Laoying, people say it was Zhou Yu's (fighting) Red Cliff in the Three Kingdoms period. The steep and uneven rock wall goes straight into the sky, and the big waves beat against the river bank, stirring up piles of snow-white spray. As picturesque as the mountains and rivers, how many heroes gathered in that era.
Looking back at Zhou Yu, Xiao Qiao just married him. He is young, promising, powerful and brave. Feather fan in hand and black silk scarf, the battleship of nemesis was burned to ashes in laughter. (at this moment), (I) miss the old things in the Three Kingdoms, and I should laugh at my sentimentality, because my hair has turned white.
Paper cutting, also known as paper carving, window cutting or painting cutting. The difference is that when creating, some use scissors and some use carving knives. Although the tools are different, the artistic works created are basically the same, which is collectively called paper-cutting. Paper-cutting is a kind of hollow art, which gives people a sense of emptiness and artistic enjoyment visually. Its carrier can be paper, gold foil, silver foil, bark, leaves, cloth, leather and other sheet materials.
catalogue
paper cutting
brief introduction
history
history
create
Tool flow
Modern paper cutting
Installation form
launch
Edit this paragraph
paper cutting
Paper cutting, also known as paper carving, window cutting or painting cutting. The difference is that when creating, some use scissors and some use carving knives. Although the tools are different, the artistic works created are basically the same, which is collectively called paper-cutting. Paper-cutting is a kind of hollow art, which gives people a sense of emptiness and artistic enjoyment visually. Its carrier can be paper, gold foil, silver foil, bark, leaves, cloth, leather and other sheet materials.
Edit this paragraph
brief introduction
Paper-cutting On May 20th, 2006, paper-cutting art was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On June 5, 2007, Zhou Zhaoming, a disciple of Wang Laoshang in Yuxian County, Hebei Province, was recognized as the representative inheritor of this cultural heritage project by the Ministry of Culture and included in the list of 226 representative inheritors of the first batch of national intangible cultural heritage projects. On June 8, 2007, Shanghai Li Paper-cut Art Master Studio won the first Cultural Heritage Day Award from the Ministry of Culture.
On September 6th, 2008, Li Xiang Style Paper-cut Studio was formally established. On the basis of inheriting the traditional Shandong folk paper-cutting, the works were kneaded into exquisite and graceful southern paper-cutting, and the portrait paper-cutting was innovated and practiced.
On September 30, 2009, Chinese paper-cutting was approved by the Intergovernmental Committee for the Protection of Intangible Cultural Heritage of UNESCO and included in the list of the fourth batch of representatives of intangible cultural heritage of mankind.
20 10 is the year of the tiger. A single tiger paper-cut created by Mr. Zhu Weizhen, president of Zhejiang Tonglu Paper-cut Association, is 10 meter wide and 7 meters high. This work was certified on the spot and selected as the largest single tiger paper-cut in world record association, China, creating another world-class paper-cut art, adding auspiciousness and joy to the arrival of the Year of the Tiger.
Edit this paragraph
history
The folk paper-cutting handicraft art of China, the world's largest paper-cutting tiger, has its own formation and development process. The invention of Chinese paper-cutting was in the Western Han Dynasty BC (6th century BC). At that time, people used the thin material hollowing-out carving technology to make handicrafts, but it was popular long before paper appeared, that is, patterns were carved on gold foil, leather, silk and even leaves by carving, carving, picking, carving and cutting. According to Records of the Historian Jiantong Di Feng, in the early years of the Western Zhou Dynasty, a king claimed the title of king, and cut a plane tree leaf into a "reed" and gave it to his younger brother, who was named Hou in the Tang Dynasty. During the Warring States Period, leather carvings (one of the cultural relics unearthed from Chu Tomb No.1 in Jiangling, Hubei Province) and silver foil carvings (one of the cultural relics unearthed from Guwei Village in Huixian County, Henan Province) were all demolished together with paper-cutting, and their appearance laid a certain foundation for the formation of folk paper-cutting. The earliest paper-cutting works in China were found in 1967, when China archaeologists discovered two paper-cuts with flowers in the northern tombs of Astana near Gaochang Site in Turpan Basin, Xinjiang. They use hemp paper, all of which are folded sacrificial paper-cuts. Their discovery provides physical evidence for the formation of Chinese paper-cutting.
The history of paper-cutting handicraft art, that is, paper-cutting in the true sense, should begin with the appearance of paper. The invention of paper in Han Dynasty promoted the appearance, development and popularization of paper-cutting. Paper is a moldy material. In the southeast of our country, the climate is humid, and the rainy days in May and June every year, paper products will rot over time. Folk paper-cutting is a popular thing. People don't keep it as a treasure, and they can cut it if it is broken. In the northwest of China, the weather is dry and there is little rain, and the climate is dry, so the paper is not easy to get moldy. This may also be Xinjiang.
Appreciation of paper-cutting (40 photos) One of the important reasons why Turpan discovered paper-cutting in the Northern Dynasties.
Paper-cutting has been in a period of great development in the Tang Dynasty. In Du Fu's poem, there is a saying that "warm water trapped my feet, and paper-cutting called back my soul", and the custom of paper-cutting called back my soul had spread among the people at that time. The paper-cut in the Tang Dynasty, which is now in the British Museum, shows that the paper-cut at that time had a high level of manual art and a complete picture composition, expressing an ideal realm between heaven and earth. Popular in the Tang Dynasty, the carved patterns of flowers and trees have the characteristics of paper-cutting. For example, the pattern of "Duiyang" in Masakura Hospital in Japan is a typical artistic expression of hand cutting. In the Tang dynasty, there was also block printing made of paper-cutting. People carved it into wax paper with thick paper, and then printed the dye on the cloth to form beautiful patterns.
In Song Dynasty, the paper industry was mature and there were many kinds of paper products, which provided conditions for the popularization of paper-cutting. For example, it can be used as "fireworks" for folk gifts, "window grilles" pasted on windows, or as decorations for lanterns and teacups. The application scope of folk paper-cutting in Song Dynasty gradually expanded. Jiangxi Jizhou Kiln uses paper-cut as the pattern of ceramics, and makes the ceramics more exquisite by glazing and firing. Folk also use paper-cutting to carve figures in shadow play with the skins of animals such as donkeys, cows, horses and sheep. Engraving plates made of blue printed cloth are carved into patterns with oilpaper board, and the scratched patterns are made by paper-cutting technology, which is divided into yin and yang engraving. Long lines should be cut off to distinguish facts from truth.
During the Ming and Qing Dynasties, the paper-cut handicraft art matured and reached its peak. Folk paper-cut handicraft art has a wider range of applications, such as flower decorations on folk lanterns, decorative patterns on fans and embroidery patterns, all of which are reprocessed with paper-cut as decoration. What's more, Chinese people often use paper-cutting as decoration to beautify the home environment, such as door battlements, window grilles, cabinet flowers, wedding flowers and ceiling flowers, which are all used to decorate doors, windows and rooms. In addition to the paper-binding pattern craftsmen who appeared after the Southern Song Dynasty, the most basic team of folk paper-cutting handicrafts in China is rural women. Female red is an important symbol of the perfection of traditional women in China. As a compulsory skill of needlework, paper-cutting has become a skill that girls have to learn since childhood. They want to learn paper-cut patterns from their predecessors or sisters, cut out new patterns through cutting, re-cutting, painting and cutting, and describe the natural scenery they are familiar with and love, the scenery of fish, insects, birds, beasts, flowers, trees, pavilions and bridges, and finally reach the realm of their will.
China folk paper-cut handicraft art, like an ivy, is ancient and evergreen, and its unique popularity, practicality and aesthetics have become a symbolic meaning that meets people's psychological needs.
Edit this paragraph
history
As early as the Han and Tang dynasties, folk women used gold and silver foil and colored silks to cut into Fang Sheng, and the temples were decorated with flowers and birds to decorate deer and cranes in the same spring. Then it gradually developed. In festivals, colored paper is cut into flowers, animals or story characters and pasted on windows (called "window grilles") and lintels (called "door stickers") as decoration, as well as as as gift decoration or embroidery patterns.
Paper-cut art has a long history, which is widely recorded in ancient poetry classics:
1. In the poems left by Cui Daorong in the Tang Dynasty, there is such a sentence: "If you want to cut Yichun characters, you can cut them for those who are cold in spring." The Yichun Post mentioned by Li is now called paper-cutting.
2. In the Tang Dynasty, Li Shangyin's poem Manyue said: "Carve gold to win and spread fine customs, and cut the ribbon to prosper the people." Ribbon-cutting is also paper-cutting.
3. The Tang Dynasty's Youyang Miscellaneous Notes said: "On the day of beginning of spring, the home of literati, paper-cut is a small pan, or hung on the head of a beauty, or on the next flower, and cut into a spring butterfly, which plays with Chunsheng."
4. In the book Miscellaneous Notes on Poems in Zia, written by Zhou Mi in the Southern Song Dynasty, it was written: "It is extremely exquisite that the ancient capital is characterized by excelsior and various colored patterns are cut. And those who are more ambitious in the Central Plains will be professional every time they cut their calligraphy. Later, some teenagers have been able to cut words and flowers on their sleeves very accurately. " That is, "Kaifeng" mansion, and "pattern paper-cutting" naturally refers to "paper-cutting".
5. Zhiyun, Jiande County, Guangzhou: "Lin Wenhui, the word outline is neat, the paper-cut is the word, and the tail is not bad. The room is decorated into a shaft, and it is easy to pay for self-sufficiency, which is called cutting."
Edit this paragraph
create
Synthetic method
The basic material of paper-cutting is flat paper, the basic units are lines and blocks, and the basic language symbols are decorative points, lines and surfaces. In addition, due to the limitation of materials, paper-cutting is not good at expressing multi-level complex picture content and faint paper-cutting-dragon shadow effect, as well as the volume, depth and fluctuation of objects and images. Therefore, we can only foster strengths and avoid weaknesses, and adopt head-up composition in composition, that is, change objects and scenes from three-dimensional images into two-dimensional plane images. By boldly selecting the performance materials, simplifying them, summarizing them with concise lines, highlighting the key points of the picture, and contrasting the black-and-white relationship with reality, the expressive force of the works can be enhanced, and the objects in the world can be represented with a head-up view, which determines the planarization characteristics of paper-cutting performance, that is, any image creation is stored in a specific visual plane. Folk paper-cutting adopts an expanded way of thinking, which is very arbitrary. Under the scissors of the creator, paper-cutting has become a natural and bold creation, without volume, space, perspective and proportion, relying on experience and spirituality. In order to express their ideas, creators can break the objective laws of nature and space restrictions and put objects in different time and space on the same plane. This kind of static planarization can represent three-dimensional, four-dimensional or even multi-dimensional space, and constantly depict the world in your heart through dynamic thinking. Folk paper-cutting is to make a fuss about the limitations of paper, gallop freely in the limitations, make the impossible possible and simplify the three-dimensional world into a two-dimensional space. Infinite space and infinite complex shapes are placed on a plane, and the flat outline has become the modeling basis of paper-cutting. Therefore, the unique expressive force of folk paper-cutting is realized on the basis of the thorough concept of two-dimensional space. Paper-cut creators play their true and pure artistic nature, break the shackles of the objective world, and express their artistic objects from multiple angles, directions and levels.
This composition thinking of folk paper-cut is not limited by living customs and subject matter content, and creatively organizes a number of images to make them coherent, comparative and foil. This expression technique of flattening and taking things enhances the subjectivity, time and space, three-dimensional sense and comprehensiveness of paper-cutting, and its ultimate goal is to pursue the integrity of modeling. Perfect psychology is the foundation of all this. In folk paper-cutting, the foreground and background of the paper-cut object appear on the same plane, and the object and the image do not overlap each other, so that we can see both the front object and the back object completely, thus showing a strong decorative style. The creator broke the obstacles of realization out of pure thoughts, feelings and aesthetic stereotypes, and fully expressed the image with the method of unity of form and spirit. For paper-cutting, the back, top, bottom or interior of the object can't be seen, but it has an inner feeling. Invisibility is reasonable, but it is unreasonable not to cut it out.
In addition, the structure and expression of folk paper-cutting is not the simulation or reproduction of a static visual image from a fixed angle, but the dynamic dialectics of paper-cutting works with perceptual-snake and rational scattered perspectives. China folk art does not pursue the depth of perspective, but has an aesthetic recognition of "seeing more and seeing more". Folk paper-cutting also embodies this aesthetic concept, which embodies the whole picture of things in two-dimensional space.
The composition form of folk paper-cut completely abandons the concept of "focus" perspective painting, which not only breaks the limitation of time, space and proportion, but also completely breaks away from the specific position of natural scenery, unifying the picture with primary and secondary images, symmetry and balance formal rules. At the same time, folk paper-cutting also has the method of scattered composition, that is, different materials are independent of each other and do not cross each other, and even each object has its own perspective, so the author can arrange these different materials in the same plane reasonably. This is unreasonable in reality, but it is naturally reasonable in paper-cutting.
Folk paper-cutting is not bound by the inherent shape of natural objects, and is not satisfied with the simulation of appearance, but expresses all objects on the plane. At the same time, in order to pursue the integrity and comprehensiveness of modeling, different scenes in different time and space are described, which fully embodies the creator's wonderful ingenuity and aesthetic desire to pursue perfection.
Modeling method
Folk paper-cutting comes from life. Every year, the creators of paper-cutting express their understanding of life and nature by cutting fish and paper-cutting, which is an expression of their inner feelings. Therefore, this kind of artistic expression focuses on similar expression, not similar expression. At the same time, due to the limitation of paper-cutting technology, it is not appropriate to adopt a completely realistic approach, but only highlight the outline characteristics of the object, and use deformation and exaggeration to highlight the characteristics of the object. Therefore, exaggeration and distortion have become one of the most commonly used expression languages in paper-cutting. Exaggerated deformation is the result of human creative labor and the crystallization of wisdom. Whether it is the painted pottery decoration of Yangshao culture, the graphic patterns of bronzes in Yin and Shang dynasties, or the stone carving art in Qin and Han dynasties, it shows its eternal artistic charm with the beauty of artistic exaggeration. As the direct carrier of primitive art, paper-cutting has outstanding performance in exaggeration and deformation. The performance of folk paper-cutting mostly comes from real life and reflects the life and things around working people. However, it is not only a simple and intuitive simulation of the object to be expressed in its works, but a common standard that transcends the objective expression of reality and changes the nature and shape of the object through exaggeration and deformation.
The creators of folk paper-cutting regard paper-cutting as a part of life, and the yearning for a better life and the worship of ancient totems are the main contents of folk paper-cutting. These themes full of folk customs, beliefs and philosophies can only be expressed subjectively, which makes the image of paper-cut arbitrary, and the depiction of inner images can not be separated from exaggerated artistic language.
The exaggeration of folk paper-cut modeling is a systematic and standardized process of complicated content, rather than an objective description of nature. Therefore, the image in paper-cut is more prominent and eye-catching than the prototype. This is determined by the big historical and cultural background and living environment, and comes from the rich life of sawtooth paper-cutting. At the same time, the processing and simplification of living raw materials is also the basis of folk paper-cut modeling. Eliminating non-essential things, highlighting the parts with characteristics and individuality, and turning complexity into simple art re-creation are the exaggeration of folk paper-cutting. Exaggeration emphasizes the characteristics of the object on the basis of ellipsis, and expands, shrinks, elongates, thickens and deforms the most special part of the object image to make the image more distinctive and artistic. In many folk paper-cut works, people can only see their eyes in facial modeling, because in people's minds, eyes are the most vivid, so the creators exaggerate people's eyes.
The exaggeration of folk paper-cutting not only embodies the characteristics of the object, but also requires the purpose of decorative beauty, which shows the creator's spiritual pursuit of life, such as ideals and wishes. In order to make the prominent part more clear, concentrated and eye-catching, some decorative patterns are often added to the image to achieve the perfect decorative purpose. The desire for beauty has also become one of the exaggerated contents. When representing a character, the clothes of the character are covered with flowers; When depicting animals, the fur on animals is exaggerated into a whirlpool shape, or patterns are directly added to it, so that the original ordinary image becomes transparent and shows strong decoration. Sawtooth and crescent are common decorative patterns in folk paper-cutting.
The creative process of folk paper-cutting is a process of evolution and deepening from "truth" in real life to "beauty" in art through exaggeration, and it is also a process of the creator's thoughts, feelings, aesthetic psychology and pursuit and embodiment of beauty. Through long-term observation and understanding of life and long-term practice, the creator understands the law of paper-cutting, and freely combines balanced, uneven, dense and irregular lines to form wonderful rhythm and rhythm, which adds interest and enriches the appeal of the image.
Tool description
Paper-cutting is not made by machine, but by hand. The common methods are scissors and knife scissors. As the name implies, scissors are scissors. After cutting, paste a few (usually no more than 8) paper-cuts, and finally process the pattern with sharp scissors. Knife scissors first fold the paper into several folds, put it on the soft mixture of ashes and animal fat, and then slowly carve it with a knife. Paper-cutting artists usually hold a knife vertically and process the paper into the desired pattern according to a certain model. Compared with scissors, one advantage of knife scissors is that they can be processed into various paper-cut patterns at one time.
Paper cutting sculpture
1. Sculpture
Give priority to lines, keep the lines of modeling, cut off other parts, connect the lines, and keep the shape and cut off the outside. This is called orthomorphism.
Step 2 carve
Based on the block, the lines of the figure are truncated, the lines are broken, and the shape is cut empty, which is called negative shape.
3. Yin and Yang sculpture
Combination of male engraving and female engraving.