The success of gold-engraved work is passed down, and Jing customs and ribbon-cutting inspire Jin style: the cultural genes and regional genealogy of Chinese paper-cut art.
Chinese paper-cutting, which ranks among the representative items of national intangible cultural heritage, uses paper as a medium. It is hollowed out with scissors or carving knives to create a visual order of virtuality and reality on the plane. This skill is not only an aesthetic creation of Chinese folk artists who use images to symbolize meaning, but also a national cultural epic engraved on thin paper. Its artistic value lies in the special line toughness of "never falling off thousands of times and endless cuts", and also lies in the auspicious semantic system constructed with the help of homophony, symbolism and other techniques. It is extremely unique, impressive and amazing at the same time. It is extremely difficult to fully understand the beauty of it, which makes people constantly think and explore.
During the inheritance and evolution of paper-cutting, a distinct regional school system has been formed. Shanxi paper-cutting is famous for its rough and unconstrained features. Its composition is very full, and it is mostly used for seasonal folk space decoration. Shaanxi paper-cutting undertakes Retaining the legacy of the Zhou, Qin, Han and Tang Dynasties, window grilles and cave paper-cutting retain the mysterious image of the original totem; Shandong paper-cutting developed it into the "ink-picking" technique in the Gaomi area, with lines as delicate as hair, showing a unique sense of order and beauty. Together, these schools constitute the cultural ecology of Chinese paper-cutting with diverse and symbiotic characteristics. In 200, Chinese paper-cutting was selected into the UNESCO Representative List of Intangible Cultural Heritage of Humanity, which shows that it has transformed from a local skill into a spiritual wealth shared by mankind.
Hundreds of paintings and various scenes are presented on red paper: folk beliefs and visual narrative in the art of New Year pictures
New Year pictures originated from the door god paintings of the Han Dynasty. It was not until the Song Dynasty that, with the maturity of woodblock printing technology, it evolved and developed into an independent art category. It relied on the combination of woodblock overprinting and hand-painted paintings to construct a unique Chinese deity map and moral scene within a small scope. There are places like Yangliuqing in Tianjin, Taohuawu in Suzhou, Yangjiabu in Shandong, and Mianzhu in Sichuan. These are all famous production areas for New Year paintings. Each of them records the collective unconsciousness of farming civilization with its unique engraving methods and color systems.
The cultural anthropological significance of New Year pictures is that they are not only a decorative carrier of festival folk customs, but also a visual representation of folk beliefs. "Qin Qiong Jingde" contains the legacy of primitive witchcraft to ward off evil spirits and bring good fortune, and "Sustainable Years More" conveys the people's long-term pursuit of sufficient material through homophonic imagery. The contemporary protection of the New Year painting art in the national intangible cultural heritage project is in a state of competition between manual skills and mechanical reproduction. How to achieve the living inheritance of cultural space while maintaining the essence of traditional color registration technology has become an important proposition for academic circles to pay attention to.
Jinxin embroidery has been hand-crafted for three thousand years to see the world between the warp and weft: the stitch system and aesthetic paradigm of embroidery skills
As one of China's top ten national quintessences, embroidery has a historical heritage that lasts for more than three thousand years. It treats the needle as a pen and the thread as ink, constructing a three-dimensional visual language on fabrics such as silk, cotton and linen. Divided according to the characteristics of craftsmanship, embroidery includes two categories: silk embroidery and feather embroidery. The former is famous for the "fineness, fineness, elegance and cleanliness" of Suzhou embroidery, while the latter is famous for the full splendor of Cantonese embroidery. In 2006, Su embroidery was included in the first batch of national intangible cultural heritage lists, Hunan embroidery was included in the first batch of national intangible cultural heritage lists, Guangdong embroidery was included in the first batch of national intangible cultural heritage lists, and Shu embroidery was included in the first batch of national intangible cultural heritage lists.
The key to embroidery skills is the integrity of the stitching system. Su embroidery alone has dozens of stitching methods, such as straight stitches, loose stitches, applied stitches, random stitches, etc. By relying on the changes in thickness, density, and curvature of the lines, the texture of the object and the light and shadow can be accurately captured. The social and cultural significance of embroidery art is embodied in the rank marks in the ancient clothing system. It is also condensed into the emotional expression of folk women using needles to express their feelings. The auspicious patterns on those wedding dresses and purses are actually a history of women's souls woven by needles and threads!
Water and soil casting kiln fire passed down the tradition: the scientific and technological evolution and aesthetic realm of ceramic skills
Chinese ceramics, which began as pottery-making techniques in the Neolithic Age, have evolved over tens of thousands of years, forming a complete technological pedigree that manifests itself in celadon, white porcelain, colored porcelain, and colored glazed porcelain. Ceramic production uses clay, feldspar, and quartz as fetal bones. Through seventy-two processes such as kneading mud, drawing blanks, repairing tires, applying glazes, and firing, the transformation from clay to art is achieved in the fire. Dehua porcelain firing techniques, Longquan celadon firing techniques, and Jingdezhen handmade porcelain techniques have all been selected into the UNESCO Representative List of Intangible Cultural Heritage of Humanity.
Ceramic art has documentary value, and this value lies in its ability to serve as a carrier, a material carrier of cultural layers. The Xing kiln of the Tang Dynasty showed the characteristics of "like silver and like snow", the Ru kiln of the Song Dynasty had the appearance of "blue after the rain", the blue and white of the Yuan Dynasty showed the bright and bright colors of the Yuan Dynasty, and the clear enamel reflected the intricate and delicate style. The ceramics of the past dynasties are not only practical utensils, but also the condensed aesthetic ideal of that season, the demonstration of the level of craftsmanship, and the crystallization of cultural exchanges. In this contemporary context, the protection work involved in ceramic skills is gradually changing from the simple inheritance of craftsmanship to the transformation of the wisdom contained in traditional creations into modern times, and then exploring the path that should be taken to activate intangible cultural heritage resources in contemporary life aesthetics.
The firelight illuminates thousands of wishes and the lanterns shine brightly on the world: the folk space and craftsmanship of lanterns and lanterns
The Han Dynasty was the origin of lantern art. By the Tang and Song Dynasties, it evolved into an extremely grand folk form of lanterns. It integrates many forms of artistic expression such as color binding, pasting, paper-cutting, painting, and poetry. Silk and paper are pasted on a frame made of bamboo and wood. Candles are burned inside and painted on the outside, thereby creating a state of light and shadow space where virtuality and reality interplay with each other. Zigong Lantern Festival, Qinhuai Lantern Festival, Quanzhou Lantern Festival, etc. are national intangible cultural heritage projects. They each represent the exquisiteness of southern lanterns and the magnificence and uniqueness of northern lanterns.
The cultural significance of lanterns is first shown in its function of constructing the so-called folk custom space. The temporary sacred space created through lanterns after the Lantern Festival achieves a dialogue between man and God, and realizes the mutual blending of the secular and the transcendent. Viewed from the perspective of craftsmanship, a lantern that can be called a fine product often requires craftsmen to have the ability to split bamboo into strips, the ability to frame it to achieve a final shape, the skill to achieve smooth mounting, and the skill to paint to achieve a realistic effect. The production process itself is a handmade skill that is about to be lost and has multiple elements. The key point of protecting the current lantern art is to cultivate comprehensive inheritors who can master a complete set of technological processes.
Clay sculptures are made with skillful hands: the inheritance of modeling wisdom and skills in clay sculpture and wood carving
Clay sculpture is the art of using fine clay as a raw material, beating it, kneading it, drying it, and then painting it to shape it. For example, Tianjin's "Clay Figure Zhang", Wuxi Huishan Clay Figures, Fengxiang Clay Sculpture and other representative schools interpret folk aesthetics with their own unique modeling languages. Among them, "Clay Figurine Zhang" is committed to the pursuit of realism and expressiveness in painted sculptures, integrating the artistic conception of literati paintings into the creation of clay sculptures; Huishan Clay Figurine is divided into "coarse goods" and "fine goods". Coarse goods appear extremely rough and simple and are used in folk customs for the market that needs to be sold, while fine goods are meticulous and become elegant toys for appreciation on the desk.
In 2008, woodcarving art was included in the national intangible cultural heritage list. The core of its craftsmanship lies in the wisdom of relying on certain skills to create exquisite works based on material characteristics, texture, size and other factors during the carving process, relying on the existing situation and adopting an appropriate method to create. Dongyang woodcarving is good at using a carving technique to produce undulating images that stand out on a flat surface, which can be used for the decoration of buildings and the production of furniture. Boxwood carvings use small-leaf boxwood as the material and are carefully carved. They are suitable for placement on desks and other places for viewing. Chaozhou gold lacquer wood carving combines the process of applying lacquer and gold foil to create a dazzling, gorgeous and dazzling visual effect. As key categories in traditional plastic arts, they are all faced with the challenge of shrinking folk space in the process of urbanization, and urgently need the help of productive protection to achieve the dynamic inheritance of skills.
Paper kites ride on the wind for nine days: the historical value of science and technology and the connotation of folk culture of kites
The origin of kites was in the Spring and Autumn Period of the Eastern Zhou Dynasty. It has a history of more than 2,000 years. At the beginning, it was used for military reconnaissance and communication work. It was not until the Song Dynasty that it turned into an outdoor recreational activity that the public can participate in. Kite making combines the four major skills of tying, pasting, painting and flying. The tying of the skeleton focuses on symmetry and balance in order to comply with the principles of aerodynamics. The painting and drawing incorporates auspicious patterns and unique folk color systems. Kite Ha, which originated in Beijing, Kite Wei, which comes from Tianjin, and kites from the Weifang area, these representative schools each present the modeling characteristics and craft inheritance attached to different regions.
What is particularly profound is the cultural symbolic significance of kites. "Sustainable year after year" expresses the wish for abundance in the agricultural society. "The carp jumps over the dragon's gate" is a metaphor for the social ideal that symbolizes class advancement. Kite art is an intangible cultural heritage project that has both scientific and technological historical value and folk cultural connotation. Its contemporary inheritance is expanding in the direction of cultural tourism integration and study experience that is different from traditional hand-made products, thereby exploring the innovative transformation of intangible cultural heritage resources in public cultural services.
Bamboo is intertwined with warp and weft to create various objects: the bamboo weaving technique’s bamboo weaving system and life aesthetics
Bamboo weaving, a national intangible cultural heritage with a profound historical heritage, uses bamboo strips as warp and weft threads, and uses weaving techniques such as picking, pressing, breaking, and piecing to create a variety of utensils with practical value to rich categories for art display. The core focus of its technology lies in the processing accuracy of the bamboo strips. What is processing accuracy? The craftsmen have to split the bamboo into strips of uniform thickness and width, and then go through processes such as scraping and cooking. This is done to increase toughness before subsequent weaving work can begin. Considered representative production areas, such as the Dongyang Bamboo Weaving Area in Zhejiang, the Qingshen Bamboo Weaving Area in Sichuan, and the Anxi Bamboo Weaving Area in Fujian, etc. They form a weaving pattern with their own characteristics and form a system of techniques.
Bamboo weaving has social and cultural significance, which is reflected in its creation philosophy of "tools to convey the Tao". The swastika patterns, turtle patterns, and cross flowers that exist on baskets, food boxes, and tea sets are not just decorative patterns, but also represent the ancestors' simple understanding of the order of the universe. At present, the protection of bamboo weaving art is faced with many problems, such as the shortage of raw materials and the lack of successors. It has become an industry consensus to use creative design to enhance the contemporary applicability of bamboo weaving products and build a talent training mechanism for cooperation between intangible cultural heritage workshops and universities.
The sonorous performance of shadow puppets conveys the context between ancient and modern light and shadow: the performance paradigm and regional voice of shadow puppets
Shadow puppetry, commonly known as "donkey shadow puppetry" and "lantern shadow puppetry", originated in the Western Han Dynasty and was extremely popular in the Qing Dynasty. It is a comprehensive folk art form that integrates sculpture, performance, music and literature. It carves animal skin or cardboard into silhouettes of characters, uses light sources to project images behind a translucent curtain, and combines percussion instruments and string instruments to interpret historical stories and folklore. Tangshan shadow puppets, a national intangible cultural heritage item, have their own carving styles and vocal characteristics. Huaxian shadow puppets, as a national intangible cultural heritage item, show unique carving styles and vocal characteristics. Xiaoyi shadow puppets, a national intangible cultural heritage item, also have unique carving styles and vocal characteristics. Lingyuan shadow puppets, also a national intangible cultural heritage item, have obvious carving styles and related vocal characteristics. They respectively represent the carving styles and vocal characteristics of different regions.
The first thing that embodies the artistic value of shadow puppetry is its unique audio-visual language system. The carving of the shadow puppet characters follows the stylized rule of "five points of face, seven parts of body". With the help of the contrast between virtual and real hollows and colors, a three-dimensional vision is created on the flat curtain; the singing tune is a fusion of local dialects and folk tunes, thus creating a narrative logic that conveys emotion through vocals. Shadow puppet carving is one of the top ten traditional handicrafts in Shaanxi. Its production requires more than 20 processes including skin selection, leather making, drawing, engraving, coloring, ironing, and finally knotting. The knife technique pays attention to "drawing straight carving", and the lines are smooth and even. In the practice of intangible cultural heritage protection, various places are relying on digital recording, script compilation, and campus inheritance to protect this "living context between light and shadow."
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