民间剪纸是中国民间美术形式之一，有着悠久的历史。民间剪纸作为中国本源哲学的体现，在表现形式上有着全面、美化、吉祥的特征，同时民间剪纸用自己特定的表现语言，传达出传统文化的内涵和本质。
剪纸是中国最为流行的民间艺术之一，根据考古，其历史可追溯到公元六

中国剪纸
世纪，但人们认为它的实际开始时间比这还要早几百年。剪纸常用于宗教仪式，装饰和造型艺术等方面。 在过去，人们经常用纸做成形态各异的物像和人像，与死者一起下葬或葬礼上燃烧，这一习俗在中国境外有时仍可见到。剪纸艺术一般都有象征意义，也是这种仪式的一部分；此外剪纸还被用作祭祀祖先和神仙所用供品的装饰物。
剪纸这门艺术在北方广为流传，现在，剪纸更多的是用于装饰。剪纸可用于点缀墙壁、门窗、房柱、镜子、灯和灯笼等，也可为礼品作点缀之用，甚至剪纸本身也可作为礼物赠送他人。人们以前还常把剪纸作绣花和喷漆艺术的模型。
剪纸不是用机器而是由手工做成的，常用的方法有两种：剪刀剪和刀剪。顾名思义，剪刀剪是借助于剪刀，剪完后再把几张（一般不超过8张）剪纸粘贴起来，最后再用锋利的剪刀对图案进行加工。刀剪则是先把纸张折成数叠，放在由灰和动物脂肪组成的松软的混和体上，然后用小刀慢慢刻划。剪纸艺人一般是竖直握刀，根据一定的模型将纸加工成所要的图案。和剪刀相比，刀剪的一个优势就是一次可以加工成多个剪纸图案。在农村，剪纸通常是由妇女、姑娘们来做。
中国民间剪纸手工艺术，犹如一株常春藤，古老而长青，它特有的普及性、实用性、审美性成为了符合民众心理需要的象征意义。过去，这是每个女孩所必须掌握的手工艺术，并且还被人们来品评新娘的一个标准。而职业的剪纸艺人则常常是男人，因为只有男人才能在作坊里一起劳作并挣工钱。今天，有许多学艺术的人都将剪纸用各种方式表现出来，如:舞蹈《简化女》、《剪纸娃娃》等。相信，在大家的努力下，剪纸这象征着中国的工艺制作会被 发扬光大！
 

民间剪纸之所以能够历经中国漫长的历史演进而不失其纯净和清新的特质，与中国农村稳固的社会结构和文化结构有着密切的关系。它自身存在过程中所具有的互为矛盾，又
剪纸
互为统一的不同特性，决定了其对于不断变革侧自然选择方式，从而与宫廷艺术、文人艺术拉开了间距。
1． 依附性与独立性的统一
民间剪纸是符合民间习俗的必不可少一种艺术活动。它的存在，就必定依附于民间特定的文化背景与生活环境。家中有白事，窗户上不能贴得红红火火；娃娃不生病，老奶奶也不肯剪一串吊魂的小人人；用于摆衬礼品的，要看是办喜事、丧事还是做寿；一对老夫老妻的屋里如果贴上一对坐帐喜花，那肯定是年轻人的戏耍；久旱无雨，如果剪的不是求雨的“独女捣棒槌”，而是求晴的“扫天婆”，那不知要遭多少人的咒骂。这种受存在目的作用制约的依附性特征，表现在具体作品的构图处理上，也就是作品的装饰性特征。如悬空吊挂的门笺、碗架云子之类，必须线线相连；贴在窗户上的则要求与窗格适合，并多镂空，否则迎光看去只是一个大纸片片；贴作炕围的，就最好少剪零碎花纹，否则时间长了很容易损坏。
诸多的限制，也形成了艺术上的独特语言。民间剪纸在完成一定的民俗作用之外，又极力显示着自身存在过程中的独立性----即美的特性。一张剪纸，不论它用于何种场合，作者在创作的过程中必然贯注自己的审美感情。只要人们以美的标准肯定了它，它也就有了存在中的审美价值。当然民间剪纸这种艺术形式的独立性，对于民俗的限定不是抛离，而是充分驾驭民俗形式的随心所欲。因而。其存在价值也超越了陪衬民俗的行为目的。
这种艺术上的独立性，正随着社会变革和旧民俗的逐渐消失而渐趋明显。

中国的民间剪纸手工艺术有它自身的形成和发展过程，纸的发明是在公元前的西汉时代（公元前6世纪），在此之前是不可能有剪纸艺术的出现的，但当时人们运用薄片材

中国剪纸
料，通过镂空雕刻的技法制成工艺品，却早在未出现纸时就已流行，即以雕、镂、剔、刻、剪的技法在金箔、皮革、绢帛，甚至在树叶上剪刻纹样。《史记》中的剪桐封弟记述了西周初期成王用梧桐叶剪成“圭”赐其弟，封姬虞到唐为侯。战国时期就有用皮革镂花，（湖北江凌望山一号楚墓出土文物之一），银箔镂空刻花（河南辉县固围村战国遗址出土文物之一），都与剪纸同出一撤，他们的出现都为民间剪纸的形成奠定了一定的基础。我国最早的剪纸作品发现，是在1967年我国考古学家在新疆吐鲁番盆地的高昌遗址附近的阿斯塔那古北朝幕群中，发现的两张团花剪纸，他们采用的是麻料纸，都是折叠型祭祀剪纸，他们的发现为我国的剪纸形成提供了实物佐证。
关于剪纸手工艺术的历史，即真正意义上的剪纸，应该从纸的出现开始。汉代纸的发明促使了剪纸的出现、发展与普及。纸张是一种很容易霉烂的材料，在我国东南部地区气候湿润，再加上当地每年五、六月的梅雨天，时间一长纸张制品就霉烂，而民间剪纸又是一种大众化的东西，人们不会象珍宝一样保存起来，搞坏了自己还可以再剪。而在我国西北地区天干少雨，气候干燥，纸张也不易霉烂，这也可能是新疆吐鲁番地区发现北朝剪纸的一个重要原因之一。
唐代

唐代剪纸——纸花唐代剪纸已处于大发展时期，杜甫诗中有“暖水濯我足，剪纸招我魂”的句子，以剪纸招魂的风俗当时就已流传民间。现藏于大英博物馆的唐代剪纸均可看出当时剪纸手工艺术水平已极高，画面构图完整，表达一种天上人间的理想境界。唐代流行颉，其镂花木版纹样具有剪纸特色，如现藏日本正仓院的“对羊”，其羊的纹样就是典型的剪纸手工艺术表现手法。唐代民间还出现了利用剪纸形式制作的漏版印花板，人们用厚纸雕刻成花版，将染料漏印到布匹上，形成美丽的图案。
宋代
剪纸
宋代造纸业成熟，纸品名目繁多，为剪纸的普及提供了条件。如成为民间礼品的“礼花”，贴于窗上的“窗花”，或用于灯彩、茶盏的装饰。宋代民间剪纸的运用范围逐渐扩大，江西吉州窑将剪纸作为陶瓷的花样，通过上釉、烧制使陶瓷更加精美；民间还采用剪纸的形式，用驴、牛、马、羊等动物的皮、雕刻成皮影戏的人物造型；蓝印花布工艺制作的镂花制版是用油纸板雕镂成纹，刮浆印花的花版纹样就是采用剪纸的技法，有阴、阳刻之分，长线要割断，以点分虚实。
明清

明、清时期剪纸手工艺术走向成熟，并达到鼎盛时期。民间剪纸手工艺术的运用范围更为广泛，举凡民间灯彩上的花饰，扇面上的纹饰，以及刺绣的花样等等，无一不是利用剪纸作为装饰成再加工的。而更多的是我国民间常常将剪纸作为装饰家居的饰物，美化居家环境，如门栈、窗花、柜花、喜花，棚顶花等都是用来装饰门窗、房间的剪纸。除南宋以后出现的纸扎花样工匠外，中国民间剪纸手工艺的最基本的队伍，还是那些农村妇女。女红是我国传统女性完美的一个重要标志，作为女红的必修技巧——剪纸，也就成了女孩子从小就要学习的手工艺。她们从前辈或姐妹那里要来学习剪纸的花样，通过临剪、重剪、画剪、描绘自己熟悉而热爱的自然景物，鱼虫鸟兽、花草树木、亭桥风景，以至最后达到随心所欲的境界，信手剪出新的花样来。

民间剪纸的创造者把剪纸视为生活的一部分，对美好生活的向往以及对远古图腾的崇拜，是民间剪纸表达的主要内容。而表现这些充满民俗、信仰、哲学的主题，只能从主观出发去想象，这就使剪纸的形象随心所欲，而描绘内心物象离不开夸张的艺术语言民。
民间剪纸造型的夸张，是对繁杂内容条理化，规范化的过程，不是对自然客观的描摹。因此，剪纸中的形象比原型更突出，更引人注目。这是由大的历史文化背景和生存环境所决定的，源于充实丰富的人生生活。同时，对生活素材进行去粗取精，删繁就简的处理，也是民间剪纸造型的基础。剔除非本质的东西，突出有特征，有性格的部分，化复杂为单纯进行艺术再创造即是民间剪纸的夸张。夸张是在省略的基础上强调对象的特征，对物象最特殊的部分作扩大、缩小、伸长、加粗等的处理，使形象更具特征性和艺术魅力。在很多民间剪纸作品中，人物的面部造型几乎只能看到眼睛，因为在人们的观念中，眼睛最能传神，所以创造者对人的眼睛进行了夸张的处理。
锯齿式剪纸　民间剪纸的夸张，在为体现物象特征的同时，也要求达到装饰美的目的，并在装饰美的效果中表现出创作者对生活的理想、愿望等精神追求。为了使所需突出的部分更明确、更集中、更引人注目，往往在物象上添加一些纹饰，以达到完美的装饰性目的。求美的意愿也成为夸张的内容之一。表现人物时，将人物的衣服上缀满花朵；描绘动物时，将动物身上的毛皮夸张成漩涡状，或在其身上直接添加图案，这使原本普通的形象变得通透，体现出很强的装饰性。锯齿形和月牙形是民间剪纸常用的装饰纹样。
民间剪纸的创作过程，是通过夸张的手法经过现实生活的“真”，向艺术的“美”演化、深化的过程，是创作者的思想感情，审美心理和对美的追求、体现的过程。处于长期对生活的观察和领悟，再经过长期的实践，创作者深谙剪纸的规律，将平衡、参差、疏密以及不规则的线条自由组合，构成美妙的动律和节奏，增添了情趣，丰富了形象的感染力。
民间剪纸都来源于生活，剪纸的创作者把他们对生活、对自然的认识、感悟以剪纸这种特殊的艺术形式表现出来，是他们内心情感的一种表达，因此，这种艺术表达重在表现神似，而不是表现形似。同时，受剪纸工艺的限制不宜采取完全写实的手法，只能采用突出表现对象轮廓特征的手法，运用变形、夸张，以突出表现对象的特征。因此夸张和变形成为剪纸中最常用的表达语言之一。夸张变形是人类创造性劳动的成果和智慧的结晶，无论是仰韶文化的彩陶纹饰，殷商青铜器的图形纹样，还是秦汉的石刻艺术，都是以艺术夸张之美来显示其永恒的艺术魅力。剪纸作为原始艺术的直接承载体，在夸张变形方面有着突出的表现。民间剪纸的表现内容多来源于现实生活，并且大多反映劳动人民身边的生活、事物，但它并非只是对其作品所要表现的物象进行简单、直观的模拟，而是超越现实客观表现，通过夸张和变形改变对象的性质、形式等来改变自然原形的惯常标准。
民间剪纸的创造者把剪纸视为生活的一部分，对美好生活的向往以及对远古图腾的崇拜，是民间剪纸表达的主要内容。而表现这些充满民俗、信仰、哲学的主题，只能从主观出发去想象，这就使剪纸的形象随心所欲，而描绘内心物象离不开夸张的艺术语言。
民间剪纸造型的夸张，是对繁杂内容条理化，规范化的过程，不是对自然客观的描摹。因此，剪纸中的形象比原型更突出，更引人注目。这是由大的历史文化背景和生存环境所决定的，源于充实丰富的人生生活。同时，对生活素材进行去粗取精，删繁就简的处理，也是民间剪纸造型的基础。剔除非本质的东西，突出有特征，有性格的部分，化复杂为单纯进行艺术再创造即是民间剪纸的夸张。夸张是在省略的基础上强调对象的特征，对物象最特殊的部分作扩大、缩小、伸长、加粗、变形等的处理，使形象更具特征性和艺术魅力。在很多民间剪纸作品中，人物的面部造型几乎只能看到眼睛，因为在人们的观念中，眼睛最能传神，所以创造者对人的眼睛进行了夸张的处理。
民间剪纸的夸张，在为体现物象特征的同时，也要求达到装饰美的目的，并在装饰美的效果中表现出创作者对生活的理想、愿望等精神追求。为了使所需突出的部分更明确、更集中、更引人注目，往往在物象上添加一些纹饰，以达到完美的装饰性目的。求美的意愿也成为夸张的内容之一。表现人物时，将人物的衣服上缀满花朵；描绘动物时，将动物身上的毛皮夸张成漩涡状，或在其身上直接添加图案，这使原本普通的形象变得通透，体现出很强的装饰性。锯齿形和月牙形是民间剪纸常用的装饰纹样。

剪纸的基本材料是平面纸张，基本单元是线条和块面，基本语言符号是装饰化的点、线、面，加上由于受到材料的限制，剪纸不善于表现多层次复杂的画面内容和光影效果及物象的体积、深度和起伏，因此只有扬长避短，在构图上采用平视构图，即将物体和景象由三维空间立体形象变为二维空间平面形象，通过对表现素材进行大胆取舍，删繁就简，用简练的线条进行概括，使画面重点突出、黑白关系虚实相衬，以增强作品的表现力，用平面的眼光表现世界的物象，决定了剪纸表现的平面化特征，即任何形象的塑造都共存于一个特定形制的可视平面内。民间剪纸用展开式的思维方式，极度的随心所欲。在创作者的剪刀下，剪纸成了没有体积、没有空间、不讲透视、不顾比例，凭着经验和灵性任意取舍的自然挥洒，大胆的创造。为表现自己的想法，创作者可以打破自然的客观法则和空间的限制，将不同时空和不同空间的物体放在同一个平面上。这种借助静态的平面化能表现三维、四维甚至多维的空间，并通过动态的思维，连续的描绘自己心中的世界。民间剪纸就是利用纸的局限大做文章，在局限里自由驰骋，变不可能为可能，把三维世界简化成二维空间。无限远的空间，无限复杂的形体都被放置在一个平面上，扁平的轮廓成了剪纸的造型基础。因此，民间剪纸的独特表现力就是在彻底的二维空间观念基础上实现的。剪纸创造者发挥了其至真至纯的艺术天性，打破客观世界的束缚，多角度、多方位、多层次的表现其心中的艺术客体。
民间剪纸的这种构图思维不受生活惯例、题材内容的局限，将若干形象创造性的组织起来，使之产生连贯、对比、衬托的作用。这种平面化取物的表现手法，增强了剪纸的主观性、时空性、立体性、全面性，其最终目的就是为了追求造型的完整。求全的心理是所有这些的根本，在民间剪纸中，被剪的物体前景、后景在一个平面上出现，物象之间互不遮挡，互不重叠，既看到眼前的物象，又能完整地看到后面的物象，从而呈现出较强的装饰风格。出于质朴的求全的思想感情和审美定式，创作者更是打破实现的障碍，运用表里统一的手法，全面地表现物象。对于剪纸而言，现实的物象背面、顶面、底面或内部虽然是看不见的，但是它是存在内心感悟的，看不见的是合理的，但不剪出来却是不合理的。
另外，民间剪纸的构架和表现不是某一固定视点静态视觉形象的模拟或再现，而是把感性和理性充分综合的动态辩证。中国民间美术在透视上不追求纵深感，而有着“看得多、看得全”的审美辨识。民间剪纸同样体现出这种审美观念，在二维的空间内体现事物的全貌。
采用散点透视的剪纸作品
民间剪纸的构图形式完全摒弃了“焦点”透视的绘画概念，不但打破了时间、空间、比例关系的限制，而且彻底离开了自然景物的特定位置，用形象的主次、对称、均衡的形式法则统一画面。同时，民间剪纸也具有一种散点式的构图方法，即将不同素材各自独立，互不交叉，甚至每个物体都有自己的透视点，而作者又能将这些不同素材合理的安排在同一个平面中。这在现实中这是不合理的，但在剪纸中也自然的合理起来。
民间剪纸不受自然物象固有形的束缚，不以外表的模拟为满足，把所有的物象在平面上表现。同时为追求造型的完整性、全面性，又将不同空间、时间中的不同景物进行描绘，充分体现了创造者的绝妙匠心以及求全的审美愿望。

在技法方面，剪纸主要分为:阴刻法,阳刻法,阴阳混刻法。剪纸不是用机器而是由手工做成的，常用的方法有两种：剪刀剪和刀剪。顾名思义，剪刀剪是借助于剪刀，剪完后再把几张（一般不超过8张剪纸粘贴起来，最后再用锋利的剪刀对图案进行加工。刀剪则是先把纸张折成数叠，放在由灰和动物脂肪组成的松软的混和体上，然后用小刀慢慢刻划。剪纸艺人一般是竖直握刀，根据一定的模型将纸加工成所要的图案。和剪刀相比，刀剪的一个优势就是一次可以加工成多个剪纸图案。

Folk paper cutting is one of the forms of Chinese folk art and has a long history. Folk paper-cut as the embodiment of China source philosophy, a comprehensive, beautification and propitious characteristic in the form of performance, while the performance of their particular language folk paper-cut, convey the meaning and essence of traditional culture.
Paper cutting is one of the most popular folk art in China, according to archaeology, its history can be traced back to ad six
Chinese paper cut
In the 21st century, however, it is believed that it actually began several centuries earlier. Paper cutting is often used in religious ceremony, decoration and plastic arts. In the past, people often make different patterns of paper like figures and burning, and buried with the deceased or funeral, the customs in China sometimes can still see the outside. Generally the art of symbolism, is also part of the ceremony; in addition to paper-cut is also used for ornaments with offerings of the worship gods and ancestors.
The art of paper-cut in the north now, more widespread, paper-cut is used for decoration. Paper cutting can be used to decorate walls, doors and windows, room columns, mirrors, lights and lanterns, etc., can also be used for ornament embellishment, and even paper cutting itself can also be presented as a gift to others. People often used paper cutting as embroidery and spray painting art model.
But instead of paper cutting machines made by hand, there are two common methods: scissors and scissors. As the name suggests, scissors cut is with the help of scissors, cut and then put a few (generally no more than 8) paper paste up, and then use sharp scissors to the pattern processing. One is the first paper into several overlapping, put in the ash and animal fat composition of the mix of soft body, with a knife and then slowly scratching. Paper cutting artists generally vertical grip knife, according to certain models will be processed into the paper to the pattern. A pair of scissors and compared, is an advantage can be processed into a plurality of scissors paper-cut patterns. In rural areas, paper cutting is usually done by women and girls.
China folk paper-cut manual art, like a vine, evergreen ancient, the popularity of its unique, practical, aesthetic and has become the people in line with the symbolic meaning of psychological needs. In the past, this is every girl must master the art of hand, a standard and also people to the bride. Occupation and paper-cut artists are usually men, because only men can work together in the workshop and earn wages. Today, there are many people who study art will be paper-cut in various ways to show, such as: Dance "simplified female", "paper-cut dolls" and so on. I believe, in everyone's efforts, paper cutting this symbol of China's craft production will be carried forward!Folk paper cutting has been able to go through the long history of China without losing its pure and fresh characteristics, and China's rural solid social structure and cultural structure has a close relationship. It is contradictory in its own existence process, and
Paper-cut
The different characteristics of each other determine the way of changing natural selection, thus opening up the distance between Palace Art and literati art.
1 unity of dependence and independence
Folk paper cutting is an essential artistic activity in line with folk customs. Its existence must be attached to the folk cultural background and living environment. A funeral home, windows can not paste prosperously; the doll is not sick, old grandma is not willing to cut a little soul hanging before lining for everyone; gifts, to see the wedding, funeral or death; an old married couple in the house if the paste an account like flowers, it must the young man is playing; no rain, if the rain is not cut "alone, but for female incompletely Bangchui" sunny "so great days", I do not know how many people to have been cursed. This kind of dependent character which is restricted by the purpose of existence is embodied in the composition processing of specific works, that is, the decorative features of works. Such as hanging hanging door and hutch cloud like, wire must be connected; in the window pane and requires suitable, and hollow, or to meet light see just a big piece of paper; paste as Kang Wai, the best cutting system pattern, or a long time it is easy to damage.
Many restrictions, but also the formation of a unique art language. Folk paper-cut in the completion of a certain role of folklore, but also strongly demonstrated their independence in the process of existence ---- the beauty of the characteristics. A paper-cut, whether it is used for the occasion, the aesthetic feelings in the process of creation into their inevitable. As long as people affirm it with beauty standards, it has aesthetic value in existence. Of course, the independence of the folk paper-cut of this art form, the folk is not limited off, but the full control of the arbitrary forms of folk custom. Thus. Its value is also beyond the folk behavior to foil.
This artistic independence, with social change and the gradual disappearance of the old folk and gradually obvious.Chinese folk paper-cut manual art has its own process of formation and development, the invention of paper is in the Western Han Dynasty (BC sixth Century BC), this was not possible until there is art, but when people use a thin sheet material
Chinese paper cut
The material, arts and crafts made by carving techniques, but did not appear early in the paper has been popular with carving, engrave, tick, moment, shear techniques in gold, leather, silk, and even cut patterns on the leaves. "Shear seal younger brother Tong historical records" in the account of the early Western Zhou Cheng with leaf cut into "Gui" thanks to his brother, Feng Ji Yu to Tang hou. During the Warring States period is useful for leather Louhua, (Hubei Jiang Ling mountain, one of the cultural relics unearthed in Chu tomb), hollow Carved Silver (Henan Huixian village of solid around the Warring States ruins unearthed cultural relics), and paper-cut the same again, they all appear to lay a foundation for the formation of folk paper-cut. I found the earliest paper-cut works, in 1967 Chinese archaeologists in Xinjiang near the Turpan basin as the scene Tanagu Jiaohe ruins group, two flowers paper-cut found, they used the hemp paper is folded type sacrifice they found paper-cut, which forms Chinese paper-cut provides physical evidence.
Paper cutting on the history of handmade art, that is, the true sense of paper cutting should start from the emergence of paper. The invention of Han paper promoted the emergence, development and popularization of paper cutting. The paper is a very easy material rotten in the humid climate of the southeastern China, together with the local rainy day every year five, June, for a long time on the rotten paper products, folk paper-cut is a popular thing, like people do not like the treasures stored, ruining themselves can also be then cut. In Northwest China heavenly little rain, dry climate, not easy to rotten paper, which may be one of the important reasons for the paper-cut found in Xinjiang Turpan area.
Tang dynasty
The Tang Dynasty, the Tang Dynasty paper-cut flowers paper-cut has been in a major period of development, Du Fu's poem "I wash my feet warm, paper cutting move my soul" of the sentence, the paper-cut evocation at the time was the custom of folk. The Tang Dynasty paper-cut are hidden in the British Museum can be seen at the time of the paper-cut has a very high level of craftsmanship, composition full, the expression of an ideal the immeasurably vast difference. The Tang Dynasty popular Jie, the paper-cut pattern has flowers engraved version features, such as hidden Japan shosoin "on the sheep, the sheep pattern is typical of the paper-cut manual art expression. The Tang Dynasty folk paper-cut form also appeared with leakage version of printing board, people spend version carved with thick paper, will be printed to the fabric dye, form a beautiful pattern.
Song dynasty
Paper-cut
The Song Dynasty mature paper, paper products and a multitude of names, provided the conditions for the popularization of paper-cut. As a folk gift "fireworks", affixed to the window on the "window", or for the lantern, tea lamp decoration. The Song Dynasty folk paper-cut by gradually expanding the scope, Jiangxi Jizhou kiln paper cutting as a ceramic glaze, firing pattern, through the ceramic is more beautiful; the folk also uses the form of paper-cut, donkeys, cattle, horses, sheep and other animal skin, carved into the shadow of the characters of ornamental plate; blue calico process is oil board carved lines, scraping printing patterns is the paper-cut flower version techniques, yin and Yang carved the points, line to cut, to the actual point.
The Ming and Qing Dynasties
Ming and Qing period paper-cut art to maturity, and reached its heyday. The folk paper-cut manual art used more widely, such as folk lantern on the floral, fan decoration, and embroidery patterns and so on, all is to use as a decorative paper cutting into processing. But more often is our country folk paper-cut as decorative Home Furnishing ornaments to beautify the home environment, such as the door, window, cabinet stack of flowers, like flowers, flowers and other roof are used to decorate doors and windows, the room of the paper-cut. In addition to the Southern Song Dynasty after the emergence of the paper pattern craftsmen, Chinese folk paper-cut arts and crafts of the most basic team, or those rural women. She is an important symbol of China's traditional female perfect, as the required skills of needlework paper-cut, it has become a girl from an early age to learn the craft. From their predecessors or sisters there to learn paper-cut patterns, through cutting, heavy cutting, painting the scissors, depicting himself familiar with and love of the natural scenery, fishes and insects birds and animals, flowers and trees, pavilion bridge landscape, and finally reach the free state, a new pattern to cut casually.The creators of folk paper cutting as a part of life, yearning for a better life and the worship of ancient totem, is the main content of folk paper-cut expression. And the performance of these full of folk customs and religion, the subject of philosophy, can only imagine subjectively, which makes the image of paper-cut way, and his images depicting cannot do without exaggeration of the art language of the people.
Folk paper-cut style exaggeration, is the complexity of the content of systematic, standardized process, not describe the objective of nature. Therefore, the paper-cut image is more prominent than the prototype, more eye-catching. This is determined by a large historical and cultural background and living environment, derived from a rich life. At the same time, to discard the dross and select the essential living material, the processing is based by cutting out the superfluous, folk paper-cut modeling. Excluding non essential things, highlighting the characteristics of the character of the part of the complex for the simple art re creation is the exaggeration of folk paper-cut. An exaggeration is to emphasize the object characteristics in ellipsis on the basis of treatment, increase or decrease the elongation, bold on the most special part of the image, make the image more characteristic and artistic charm. In many folk paper-cut works, characters can almost see the facial shape of eyes, because in people's minds, the most lifelike eyes, so the creators of human eyes were exaggerated processing.
Sawtooth style paper-cut folk paper-cut exaggeration, in order to reflect the characteristics of images at the same time, also reached the requirements of decorative beauty, and show the creators of the ideal of life, the desire of spiritual pursuit in the decorative beauty effect. In order to highlight the required part of a more clear, more focused, more compelling, often add some patterns in the images, to achieve the perfect decorative purposes. Seeking beauty will become one of the exaggerated content. The performance figures, the figures will be clothes studded with flowers; depicting the animal, the animal fur exaggeration to swirl in the body, or directly add patterns, which makes the original ordinary image becomes transparent, reflecting the highly decorative. The zigzag and crescent is commonly used in folk paper-cut decoration patterns.
The creative process of folk paper-cut, through exaggeration in real life after the "true" process to the art of "beauty" evolution and deepening, is the creator of the thoughts and feelings of psychological and aesthetic beauty, the embodiment of the. Of life in long-term observation and understanding, through long-term practice, familiar with paper-cut the creators of the law, will balance, stagger, density and irregular lines free combination, constitute a wonderful rhythm of the dynamic law and adds interest, enrich the appeal of the image.
Folk paper-cut from life, paper-cut the creators of life, their understanding of nature, sentiment expressed by this special paper-cut art form, is an expression of their inner feelings, therefore, this kind of artistic expression is similar, but not the form like. At the same time, the limitation of paper cutting technology should not adopt completely realistic technique, only using the method of projecting the object outline feature, using distortion and exaggeration to highlight the characteristics of the object. Therefore exaggeration and deformation become one of the most commonly used expressions in paper cutting. Exaggeration is the crystallization of human wisdom and creative work, whether it is the Yangshao culture pottery decoration, graphic patterns Shang bronze or stone carving art of the Qin and Han Dynasty, is to display its eternal artistic charm to exaggerate the beauty of art. Paper cutting as the direct bearing of the original art, has prominent performance in exaggerated deformation. The contents of folk paper-cut from real life, and most of them reflect working people's life and things, but it is not only the performance of the work of the simulated images of simple and intuitive, but beyond the reality of objective performance, the usual standard by nature, exaggeration and distortion change object form to change the nature. The.
The creators of folk paper cutting as a part of life, yearning for a better life and the worship of ancient totem, is the main content of folk paper-cut expression. And the performance of these full of folk customs and religion, the subject of philosophy, can only imagine subjectively, which makes the image of paper-cut way, and his images depicting cannot do without exaggeration of the art language.
Folk paper-cut style exaggeration, is the complexity of the content of systematic, standardized process, not describe the objective of nature. Therefore, the paper-cut image is more prominent than the prototype, more eye-catching. This is determined by a large historical and cultural background and living environment, derived from a rich life. At the same time, to discard the dross and select the essential living material, the processing is based by cutting out the superfluous, folk paper-cut modeling. Excluding non essential things, highlighting the characteristics of the character of the part of the complex for the simple art re creation is the exaggeration of folk paper-cut. An exaggeration is to emphasize the object characteristics in ellipsis on the basis of the processing of the images for the most special part of the expansion of narrow, elongated, bold, deformation, make the image more characteristic and artistic charm. In many folk paper-cut works, characters can almost see the facial shape of eyes, because in people's minds, the most lifelike eyes, so the creators of human eyes were exaggerated processing.The folk paper-cut exaggeration, in order to reflect the characteristics of images at the same time, also reached the requirements of decorative beauty, and show the creators of the ideal of life, the desire of spiritual pursuit in the decorative beauty effect. In order to highlight the required part of a more clear, more focused, more compelling, often add some patterns in the images, to achieve the perfect decorative purposes. Seeking beauty will become one of the exaggerated content. The performance figures, the figures will be clothes studded with flowers; depicting the animal, the animal fur exaggeration to swirl in the body, or directly add patterns, which makes the original ordinary image becomes transparent, reflecting the highly decorative. The zigzag and crescent is commonly used in folk paper-cut decoration patterns.The basic materials of paper cutting is the plane of the paper, the basic unit is a line and block surface, the basic language symbol is the decoration of the point, line and plane, and due to the limited materials, not good at paper-cut multilevel complex picture content and lighting effects and images of the volume, depth and fluctuation, so we should adopt the head of composition in the composition, the object and scene by three-dimensional image into a two-dimensional space plane image, based on the material performance of a bold choice, with simple lines by cutting out the superfluous, summarize, make the picture focused, black and white actual situation contrast, in order to enhance the performance of the work force, using the plane view of the world of images that determines the characteristics of complanation paper-cut performance, visual that any image are coexist in a particular shape within the. Folk paper-cut with the expansion of the way of thinking, extreme arbitrary. The creators of the scissors, cut into no volume, no space, no perspective, regardless of the proportion with his spiritual experience and the nature of arbitrary choice, bold creation. In order to express their own ideas, creators can break the natural objective law and space constraints, different space-time and different space objects on the same plane. This static plane can show three-dimensional, four-dimensional or even multi-dimensional space, and through dynamic thinking, continuous depiction of the world in their hearts. Folk paper-cut is the use of limitations make a fuss of the paper, said in the limited freedom, the impossible, to simplify the three-dimensional world into two-dimensional space. Infinite space, infinite complex shapes are placed on a plane, flat contour became the basis of paper-cut modeling. Therefore, the unique performance of folk paper-cut is based on the thorough concept of two-dimensional space. Paper cutting creators to play to its true to pure artistic nature, breaking the shackles of the objective world, multi angle, multi-faceted, multi-level performance of the artistic objects of their hearts.
Folk paper-cut this composition thinking is not subject to the limitations of life practices, subject matter, will be a number of creative image organization, to produce coherent, contrast, foil role. This kind of plane takes the expression technique, enhanced the paper-cut subjective, the space-time, the stereoscopic, the comprehensiveness, its ultimate goal is for pursues the modelling integrity. The aim is that all these psychological basis in the folk paper-cut, cut the foreground and background objects appeared in a plane, the images are not mutually occluded, do not overlap each other, both looking at the images, but also see the back images, thus showing a strong decorative style. The overall situation for simple thoughts and feelings and aesthetic patterns, the creator is to break the barriers, the use of exterior unified approach to the performance of the full images. The paper-cut, the reality of the images back, top, bottom or internal although it is invisible, but it is the perception of the existence of inner, invisible is reasonable, but not cut out it is not reasonable.
In addition, the framework and performance of folk paper-cut is not a fixed point of view of static visual image simulation or reproduction, but the perceptual and rational fully integrated dynamic dialectical. Chinese folk art in the perspective of not seeking longitudinal feeling, and has "see much, see full" aesthetic identification. Folk paper-cut also reflects this aesthetic concept, reflecting the panorama of things in the two-dimensional space.
Paper-cut works with scattered Perspective
The composition form of folk paper-cut completely abandoned the "focus" of the concept of perspective painting, not only broke the time and space, the ratio between the limit of specific position and completely left the scene, with the image of the primary and secondary, symmetrical and balanced form of the law unified picture. At the same time, the folk paper-cut is also a method for patterning the bulk of the point, is about to separate different materials, and do not cross, even each object has its own perspective, and the author of these different materials can be reasonably arranged in the same plane. This is unreasonable in reality, but also naturally reasonable in paper-cut.
Bound folk paper-cut images from the inherent nature of the form, he was not satisfied with the appearance of the simulation, all of the images shown in the plane. At the same time as the integrity of the pursuit of style, different scenery and different space and time are depicted, fully embodies the creator of the wonderful originality and aesthetic aspirations of the overall situation.
In the paper cutting techniques, mainly divided into: incised, carved, and mixed moment method. But instead of paper cutting machines made by hand, there are two common methods: scissors and scissors. As the name suggests, scissors scissors are with the help of scissors, cut and then put a few (generally no more than 8 paper-cut paste up, and finally the use of sharp scissors on the pattern processing. One is the first paper into several overlapping, put in the ash and animal fat composition of the mix of soft body, with a knife and then slowly scratching. Paper cutting artists generally vertical grip knife, according to certain models will be processed into the paper to the pattern. A pair of scissors and compared, is an advantage can be processed into a plurality of scissors paper-cut patterns.