Artistic Characteristics and Cultural Connotation of Qingyang Paper-cut

As a child in Longdong, I grew up in a strong folk atmosphere in my hometown. Every time I introduce my hometown to others, I always talk about the folk art of my hometown, such as shadow play, paper-cutting, embroidery, sachet and clay sculpture. I prefer to invite three or five friends to my home to enjoy the exquisite folk art brought from my hometown while drinking tea. They are the wealth of my life.

I like paper-cutting since I was a child. I always take a pair of scissors and cut them at will. Whoever marries a daughter-in-law and has a holiday always gives some paper-cuts to my neighbors. Such a festive day is even more colorful.

Qingyang's paper-cuts mostly appear on the windows of rural courtyards, or on the walls of kangyan, potted flowers and caves. Gu Zhuo is simple, bold and unrestrained, simple and lively, and his lines are refined. Compared with similar folk paper-cutting in China, it is unique.

Qingyang paper-cut has its unique aesthetic consciousness. The aesthetic consciousness of Qingyang folk paper-cut is deformed. Not seeking truth, good at exaggeration; No perspective, body deformation; Do not require the shape of the object, but only concise and vivid; Don't ask for all limbs, pay attention to what you want.

It bears the ancient culture of life worship and sun worship, is the relic of Yan Di tribe's sun worship in primitive society, and is a "paper fossil" of ancient cultural relics.

In this magical land, famous folk paper-cut artist Qi Xiumei and Gansu arts and crafts master Zhang Yuzhen appeared. She is my only paper-cutting teacher, but unfortunately, when I found Grandma Zhang Yuzhen, she was very ill and couldn't get up. In the future, she can only buy a book to cut herself and miss her old man's house. . But all old artists are always kind and kind. Although she has been dead for eight years, I still miss her very much.

Pay tribute to all paper-cut artists.