Chinese paper cutting
| Chinese paper cutting | |||||||
|---|---|---|---|---|---|---|---|
 Paper cutting with the symbol for Spring (春) | |||||||
| Traditional Chinese | 剪紙 | ||||||
| Simplified Chinese | 剪纸 | ||||||
| |||||||
The traditional art of paper cutting (Chinese: 剪紙; pinyin: jiǎnzhǐ) in China may date back to the 2nd century CE, when paper was invented by Cai Lun, a court official of the Eastern Han dynasty.[1][2] On May 20, 2006, paper cutting has been officially listed as one of the earliest intangible cultural heritage of China, issue by Shanxi Culture Department.[3][4] It is put on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity in 2009.[5]
Prior to the invention of paper, ancient Chinese used silver and gold leaf to create similar patterns of decorations.[6] Paper cutting became popular as a way of decorating doors and windows as paper became more accessible. These elaborate cutting designs are created with scissors or artwork knives[6][7] and can include a variety of shapes, such as symbols and animals. As paper became more affordable in Eastern Han dynasty, paper-cutting became one of the most important types of Chinese folk art. Later, this art form spread to other parts of the world, with different regions adopting their own cultural styles.
Since the cut-outs are often used to decorate doors and windows, most paper cuts are called "hua", which means "flower". "Flower" refers to the meaning of pattern instead of the botanic beauty.[2] For different use of decorations, they are sometimes referred as different "hua". The paper cuts that used to decorate the window, it is called "window flowers" (窗花; chuāng huā) or "window paper-cuts".[8] For those used as sencils for embroidery called "hat flower" (帽花; mao hua), "pillow flower" (枕花; zhen hua), "shoe flower" (鞋花; xie hua).[9] Usually, the artworks are made of red paper, as red is associated with festivities and luck in Chinese culture, but other colours are also used. Normally cut-paper artwork is used on festivals such as Chinese New Year, weddings and childbirth, as cut-paper artwork is considered to symbolize luck and happiness.[10]
Origin
[edit]Chinese paper-cutting originated from the practice of worship of both ancestors and gods, a traditional part of Chinese culture dating back roughly two millennia. According to archaeological records, paper-cutting originates from the 6th century, although some believe that its history could be traced back as far as the Warring States period (around 3 BC),[11] long before paper was invented. At that time, people used other thin materials, like leaves, silver foil, silk and even leather, to carve negative-space patterns.[6] The technique for cutting and carving were developed before the invention of paper. Currently, the earliest pattern of paper cuts was found in 1959 from a gravesite in Xinjiang region, dating back to the year AD 386 - 581[2][12].Later when paper was invented by Cai Lun in the year AD 105,[1][2] people realized that this material was easy to cut, store and discard, so paper became the major material for this type of artwork.
Tang dynasty
[edit]During the Tang dynasty, paper cutting developed rapidly and became popular in China, which typically combined paper cutting with painting to illustrate spiritual ideas. Paper-cutting as an artform matured during the Tang dynasty, where it became considered not only a type of handicraft, but also a type of artwork, as ideas and concepts were expressed through the pattern cut into the paper.[3]
Song dynasty
[edit]During the Song dynasty, Chinese papercutting developed into a more advanced technique, with trained artisans creating more complex artworks. The technique was used to decorate ceramics and make shadow puppets. By carving patterns onto oily cardboard and scraping patterns onto the fabric, blue-printed fabric came about.[12]
Ming and Qing dynasties
[edit]In the Ming and Qing dynasty (1368-1912), paper-cutting reached a developmental peak and became a more popular Chinese art.[2][13] Folk paper-cutting spread to a wider range of people and expressed an abundance of artistic expression. It developed a variety of uses, including lantern and fan ornaments, needlework patterns, and window flowers. Paper-cutting was used to decorate doors, windows, and walls, to show happiness and celebrate festivals. The imperial family also utilized papercutting, with the Forbidden City decorated with papercuts during the emperor's wedding ceremony. Its continual appeal reflects the Chinese people's creativity, with designs expressing cultural ideas and values.[14]
This artistry witnessed its most prosperous period in Ming and Qing dynasties. For over a thousand years, people (mainly women) created cut-paper artworks as a leisure activity, creating different types of paper-cutting and passing this traditional craft onto their children,[2] resulting in the art form becoming more popular. Paper-cutting is still practiced as an art form in modern-day China as a result.
As a material, paper mildews and rots easily. In the southeast of China, where it typically rains in May and June, this causes paper to mildew and rot especially quickly; as a result, people in the southeast typically did not engage in paper-cutting art, making it hard to find cut-paper artworks from previous centuries.[3] In contrast, the weather in the northwest of China is usually dry, making it possible to find cut-paper art made in the Northern dynasties in Turpan, Sinkiang province.[15]
Style Classification
[edit]Paper-cutting is one of the oldest and the most popular folk arts in China. It can be geographically divided into three main schools.[11][13]
South School (南方剪纸 nán fāng jiǎn zhǐ)
[edit]The south school, represented by works from Foshan in Guangdong Province and Fujian Province, features rigorous, decorative and elegant designs. It is varied in its theme choice, among which the gift flowers of Putian are the most special and famous pattern of South School.[2]
Zhangpu paper-cutting originated in Fujian Province, China, and is famous for its fine craftsmanship and vivid composition. It combines cutting, engraving, pasting, painting and other techniques, and the works are rich in layers and strong visual impact. Common subjects include auspicious motifs, folklore and natural scenes, often in bright colors and dynamic shapes.[16]
Jiangzhe School (江浙剪纸 jiāng zhè jiǎn zhǐ)
[edit]The Jiangzhe School is originated from the Jiangsu and Zhejiang provinces in Eastern China. Representative works are from Yangzhou in Jiangsu Province and Yueqing in Zhejiang Province. features ingenious and beautiful designs, exquisite carving and interesting shapes. It is the most famous internationally. It usually depicts nature theme of flowers, birds, fish and fruits.[11]
North School (北方剪纸 běi fāng jiǎn zhǐ)
[edit]The northern style, mainly from Yuxian and Fengning in Hebei Province, and best represented by works from northern Shaanxi, features exaggerated shapes, vigorousness, vivid depictions and diverse patterns. The style tend to have a relatively simple and symmetrical design, focusing on abstract shapes, animals and patterns.[11]
Yuxian paper-cutting, produced in Hebei province, China, is famous for its color printing techniques and bold and unrestrained style. Artists first cut out complex patterns, and then hand color layer by layer, so that the color of the picture is bright and strong contrast. Most of the subjects are opera figures, folk stories and festival scenes, showing a strong northern folk culture.[17]
Minority School
[edit]Miao paper-cutting originated in the southeast of Guizhou Province and is a common base in Miao traditional embroidery. The Miao are one of the 55 officially recognized ethnic minority groups in China. It is not used to decorate Windows, but to aid in embroidery, so that the pattern is more accurate and neat. The contents of the paper cuts are mostly from oral legends, such as figures, animals and flowers, but also some exaggerated or mythical images. Paper-cutting artists usually create based on stories, and the patterns pay attention to hierarchy and layout, which is an expression of Miao culture and memory.[18]
Characteristics
[edit]
Chinese papercutting is an art form from the Chinese cultural legacy that displays a wide range of designs, from simple basic designs consisting of a single image to symmetrical, which are created by folding the paper into proportionate portions before cutting, so that when unfolded, it forms a symmetrical design, and are usually folded into an even number, such as twice or four times. Typically, the designs are freeform and depict scenes from daily life.[4]
Red paper is the most prevalent because it is connected with happiness and good fortune in Chinese culture, but it is not limited to any color. Two main styles of paper cutting are single-color[13] and multi-color.[14] Paper cutting is consistently evolving and has developed beyond China, with artists developing new techniques and materials to keep this art form alive. [13]
Uses and Functions
[edit]Decorative use
[edit]Chinese papercutting is mostly used for decoration nowadays. Many Chinese people decorate their windows with paper cuttings to express enthusiasm for the new season or new year. Paper cuttings are also used in homes to decorate walls, doors, lamps, and lanterns and are often presented as gifts. Furthermore, paper cuttings pasted near entrances symbolize good luck. This traditional habit festively decorates houses and special occasions. Today, paper cuttings are chiefly decorative. They liven up walls, windows, doors, columns, mirrors, lamps and lanterns in homes and are also used on presents or are given as gifts themselves. Paper cut-outs pasted on or near entrances are supposed to bring good luck. Paper cuttings used to be used as patterns, especially for embroidery and lacquer work. Cut-paper artworks are used by young people as a decoration for their kits and books.[19]
Paper-cutting was and is mostly used as a decoration, or an aesthetic way to express people's hopes, gratitude and other emotions. The vivid designs depicting on paper-cuttings have different meanings. Some express wishes for a harvest or a wealthy life, shown through the imagery of a golden harvest, thriving domestic animals and plants, as well as good fortunes, a carp jumping over a dragon gate (a traditional Chinese story, indicating a leap towards a better life), polecats, lions, qilins (a mythical Chinese creature), jade rabbits (an animal taken from Chinese legend), pomegranates and peonies. Other designs feature legendary figures, or scenes from traditional myths or stories, such as designs of the Yellow Emperor, the meeting of [[The Cowherd and the Weaver Girl|Cowherd(牛郎; niúláng) and Weaver Girl(织女; zhīnǚ)]], and the 24 stories of filial piety. Designs may also show people's gratitude towards life, such as paper-cuttings of a doll with two twisted hairs on each side of the head, or fish swimming through lotus plants.
Symbolic use
[edit]The symbolic language of Chinese paper-cutting is deeply rooted in traditional culture. People use Chinese character as a symbol to express by paper-cutting. The most popular paper-cutting Chinese characters are the characters 福 (meaning 'lucky') and 囍; xǐ (meaning 'double happiness'), which respectively used in the scenario of Chinese New Year Celebrations and weddings.[13][15]
Under the influence of Daoism culture, the pattern of paper-cutting is also related to nature and cosmology. Circular motifs known as tuánhuā (团花), often featuring symmetrical floral or geometric patterns, embody the Daoist principle of Yin-Yang balance and symbolize cosmic harmony and wholeness.[2]Lunar calendar traditions are reflected in zodiac animal paper-cuts, where the twelve earthly branches (十二生肖, shí'èr shēngxiào) serve both as decorative elements and markers of cyclical time. [15]
Spiritual use
[edit]Chinese paper cuttings' designs are often used to express hopes, appreciation, and other spiritual emotions. Common Chinese papercutting motifs include representations of harvests, animals, and mythical stories such as the carp jumping over the dragon gate. Chinese people express cultural heritage, values, and beliefs through the art of papercutting, making it a significant element of their spiritual expression.
Window paper-cuttings have a close relationship with the beginning of spring, and it is traditional to decorate windows with paper-cuttings to welcome spring. In many areas of China, especially in the north, paper-cuttings are pasted to windows to express happiness for the new season, a tradition that has been practiced since the Song and Yuan dynasties.[19]Some people also believed that window paper-cutting can be a way for bringing better luck by changing the geomancy of a house. [20]
Educational use
[edit]Chinese papercutting has educational uses that teach children about traditional Chinese art and culture and the beauty of papercutting while learning Chinese papercutting history. Practicing paper cuts also helps children enhance their fine motor skills, hand-eye coordination, cutting and creativity.[21]
In many special education schools in China, paper cutting has become an important tool in the art education of deaf students. The tactile and visual nature of paper-cutting enables students to express emotions and convey meanings through non-verbal means, which not only inherits skills, but also plays a role in psychological healing.[22]
Incorporating paper cutting art into international Chinese education in colleges and universities not only helps to enrich teaching content, enhance class interest, but also enhances the understanding and recognition of Chinese culture for international students. Through this intuitive and vivid intangible cultural heritage art form, teachers can break the barrier between language and culture, improve the effect of Chinese teaching, and realize the organic integration of language education and traditional culture inheritance.[23]
Entertainment use
[edit]Chinese paper-cutting played a pivotal role in the development of shadow puppetry (皮影戏, píyǐngxì), a popular theatrical entertainment that flourished until the early 20th century. Artists crafted paper-cutting figures representing dramatic characters, which were then sticked to bamboo sticks for manipulation. However, since paper is hard to preserve over long time, soon these paper figures were replaced by leather.[2]
Modern use
[edit]Modern Chinese paper-cutting has evolved beyond traditional folk motifs, with artists integrating avant-garde concepts and mixed media. Notable artist Lü Shengzhong (吕胜中) redefined the art form through large-scale installations incorporating abstract human figures (called "Little Red Men"), exploring themes of cultural identity and globalization. [24] From 1990 to 2003, his works began to be frequently exhibited overseas in the form of paper cuttings.[25] Chinese paper-cutting has spread throughout the globe during the 1990s period.[24] In the 2000s, Yan’an paper-cuts were mass-produced by trained rural women and featured in major exhibitions such as the Shanghai Biennale (2004), Taiwan Art Biennial (2004), Vancouver Art Gallery (2005), and São Paulo Biennale (2007).[26]
In 2009, Chinese paper cutting is officially added to the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.[5]
Today, paper-cutting has been widely adopted in branding and product design. During the 2008 Beijing Olympics, stylized paper-cut patterns depicting sporting events adorned official merchandise and venue decorations, symbolizing cultural heritage.[27][28]
Contemporary social media also allow Chinese shears to make the audience no longer resistant to traditional culture and art, so that they actively participate in the interaction, creation, dissemination and other activities, for the traditional culture of innovation and inheritance of a key step. On social platform where the paper-cutting craftsman had live streaming, audiences would suggest cutting popular IP under the age, like Bing Dwen-dwen (the mascot of 2022 winter Beijing Olympics), Nezha, Pikachu, etc.[29]
Integrating the traditional Chinese paper cutting art into the modern fashion design can enhances its cultural connotation and artistic appeal. The designers incorporate some classic Chinese paper cutting motifs into the clothing patterns, embroidery, and accessories. This kind of design method creates some unique pieces that merge with both traditional aesthetics and contemporary style. This fusion can not only fill this ancient art with fresh Invigoration, but also meets the consumers' diverse need of fashion.[30]
Social Functions
[edit]Several provincial governments and cultural institutions in China have initiated digital archiving projects for preserving regional paper-cutting styles. These initiatives involve scanning historical works, recording oral histories from folk artists, and developing online databases. Such digitization not only prevents the loss of intangible heritage but also enhances accessibility for researchers and educators worldwide.[31]
In rural areas of Chinese provinces, traditional paper-cutting is becoming a means to empower women and promote rural economic development. Many cooperatives offer training courses in paper-cutting skills so that women can earn income by creating works while passing on culture. This model reflects the important role of intangible cultural heritage in sustainable rural development.[32]
In recent years, China has launched a series of national intangible cultural heritage training programs to enhance the professional ability and social responsibility of paper-cutting inheritors. Taking the "paper cutting" workshop held in Inner Mongolia in 2022 as an example, the students received diversified courses such as theoretical teaching, practical operation, visit and exchange during the one-month training, which not only improved their technical level and aesthetic ability, but also enhanced their understanding of the non-hereditary mission. Such projects not only promote the creative transformation of paper cutting, but also strengthen public participation and cultural identity, reflecting the positive function of paper cutting art in contemporary society.[33]
Paper cutting has increasingly become a highlight of intangible cultural heritage tourism in regions such as Shanxi. Scenic spots host live paper-cutting demonstrations and workshops, attracting both domestic and international tourists. These immersive experiences strengthen cultural identity while promoting cultural consumption.[34]
As a traditional Chinese folk art, paper cutting not only carries emotional expression and cultural symbol, but also has a certain healing function. The creative process can help the creator to relieve pressure and promote self-cognition. Modern research suggests that paper cutting can stimulate the secretion of dopamine and endorphins, bringing a sense of calm and pleasure. The combination of paper-cutting and immersive installation art is more helpful to expand the application scene of psychological healing, and become a creative and acceptable way of physical and mental adjustment in modern society.[35]
Chinese paper cutting has been exhibited many times in important international cultural activities such as the United Nations Chinese Language Day, showing traditional Chinese art to a global audience. These activities not only show the exquisite skills and rich cultural significance of paper cutting, but also let more foreign friends understand and love this traditional folk art. Through such cultural exchanges, Chinese paper cutting has won attention and recognition overseas, and has also enhanced the communication power and influence of Chinese culture in the world.[36]
Chinese paper-cut animation is a combination of traditional paper-cut art animation form, the picture is unique, rich national characteristics. It was widely loved in the early days, but due to the complexity and inefficiency of production, it was gradually replaced by other forms of animation. Now, some researchers try to use digital technology to make paper-cut animation, hoping to improve the production efficiency on the basis of retaining the traditional style, so that this animation form with Chinese characteristics can be revitalized and better enter the vision of modern audiences.[37]
Construction methods
[edit]There are two methods of manufacturing Chinese paper-cuttings: one method uses scissors, the other a sharp knife. The construction methods of papercutting involve several steps, including the selection of paper materials, specifically types and colors depending on the desired effect. The selected paper is then folded multiple times, and the pattern is drawn onto it. Next, cut the design out carefully, either with scissors or an art knife. Finally, the paper cutout is opened up to reveal the exquisite design, which can be further enhanced with additional details such as coloring and shading. The construction of papercutting requires patience, skill, and carefulness, as well as the creativity and artistry of artists.[4]
The application of Chinese paper cutting art in the design of cultural and creative products broadens the spread and form of this kind of traditional art. By applying paper-cut designs to things like desk calendars, bookmarks, and souvenirs, artists give the cultural meaning into these objects that can be used in daily life, enhancing their aesthetic value and market appeal.[38]
Based on traditional Chinese paper cutting, Chinese researchers have developed a new technique called "nano-paper cutting" in 2017. This new paper cutting technology can use complex nanostructures to make Chinese paper cutting products. The research result has a promising application in high-tech fields, and also shows that traditional art can also bring new breakthroughs in science.[39]
Scissor construction method
[edit]The scissor construction approach involves taping multiple sheets of paper together and then cutting off the designated shapes using sharp scissors. Several pieces of paper – up to eight – are fastened together, before the motif is then cut with sharp, pointed scissors. Chinese paper-cutting involves cutting intricate, exquisite designs from a single or multiple layers of paper with scissors or artwork knives. It is passed down through generations because both procedures demand a great deal of talent and skills. This cutting of multiple paper layers at the same time enables a more consistent pattern.[4]
Knife construction method
[edit]In the artwork knife construction approach, the design is carved out with a sharp knife, commonly following a pattern, but expert artisans can alternatively cut varied shapes freely. In the knife method, several layers of paper are placed on a relatively soft foundation, consisting of a mixture of tallow and ashes. Following a pattern, the motifs are then cut into the paper with a sharp knife, which is usually held vertically. Skilled artisans can cut different designs freehand, without following a pattern.[4]
AI Construction method
[edit]HarmonyCut is a generative AI tool developed to assist artists in creating intricate paper-cut designs. It provides customizable templates, simulates traditional knife techniques digitally, and helps preserve folk art in the digital age. The tool bridges traditional craftsmanship and modern technology, empowering both professionals and students.[40]
See also
[edit]- Chinese art
- Chinese folk art
- Chinese paper folding
- Kirigami
- Leaf carving
- Papercutting
- Scherenschnitte
- Wycinanki
- Papel picado
References
[edit]- ^ a b "Chinese Paper Cutting". www.lapl.org. Retrieved 2025-02-26.
- ^ a b c d e f g h i Wu, Fatima (2004). "A Glimpse of Chinese Culture Through Papercuts" (PDF). Education About Asia. 9 (1): 40–46.
- ^ a b c "中国剪纸的历史渊源及主要流派 – 中国书画网". www.chinashj.com (in Chinese). Retrieved 2023-05-13.
- ^ a b c d e "中国剪纸 – 中国非物质文化遗产网·中国非物质文化遗产数字博物馆". www.ihchina.cn (in Chinese). Retrieved 2023-05-13.
- ^ a b "UNESCO - Chinese paper-cut". ich.unesco.org. Retrieved 2025-02-26.
- ^ a b c Zhang, Daoyi (Nov 3, 1989). The Arts of Chinese Papercuts (Beijing: Foreign Language Press). China Folk Art Series.
- ^ "Paper Cutting". Smithsonian's National Museum of Asian Art. Retrieved 2025-02-26.
- ^ Yang, Crystal Hui-Shu (2012-04-01). "Cross-Cultural Experiences Through an Exhibition in China and Switzerland: "The Art of Paper-Cutting: East Meets West"". Source: Notes in the History of Art. 31 (3): 29–35. doi:10.1086/sou.31.3.23208592. JSTOR 23208592.
- ^ Chinese Papercutting Patterns for Seasonal Festivals. Taipei: Minsu Yishu Chuban- she. 1979.
- ^ Meng, Meng; Zhao, Mingtian; Zhu, Song-Chun (2010-10-25). "Artistic paper-cut of human portraits". Proceedings of the 18th ACM international conference on Multimedia. MM '10. New York, NY, USA: Association for Computing Machinery. pp. 931–934. doi:10.1145/1873951.1874116. ISBN 978-1-60558-933-6.
- ^ a b c d "Chinese Paper Cutting (剪纸: jiǎnzhǐ)". Abridge Academy. 2020-05-09. Retrieved 2025-02-28.
- ^ a b "中国剪纸 – 东方印象". www.eastimpression.com (in Chinese). Retrieved 2023-05-13.
- ^ a b c d e Anthony (2025-02-19). "Paper Cutting, Traditional Chinese Folk Art Designs 2025". www.thechinajourney.com. Retrieved 2025-03-08.
- ^ a b "Chinese folk paper cutting". www.chinatoday.com.cn. Retrieved 2025-02-28.
- ^ a b c "Chinese paper-cut". www.chinadaily.com.cn. Retrieved 2025-03-08.
- ^ "一刀一剪 熠熠生辉——走进闽派文艺精品系列报道之漳浦剪纸 - 文教 - 东南网". fjnews.fjsen.com. Retrieved 2025-04-09.
- ^ "剪纸（蔚县剪纸） - 中国非物质文化遗产网·中国非物质文化遗产数字博物馆". www.ihchina.cn. Retrieved 2025-04-09.
- ^ "苗族剪纸 藏在非遗中的非遗 - 中国非物质文化遗产网·中国非物质文化遗产数字博物馆". www.ihchina.cn. Retrieved 2025-04-09.
- ^ a b "剪纸文化价值体现在哪儿？剪纸文化的价值_中国历史网". www.86lsw.com (in Chinese). Retrieved 2023-05-13.
- ^ Li, Bo-hua; Li, Zhen; Liu, Pei-lin; Dou, Yin-di (2022). "Landscape gene variation and differentiation law of traditional villages in Xiangjiang River Basin". Journal of Natural Resources. 37 (2): 362. doi:10.31497/zrzyxb.20220207. ISSN 1000-3037.
- ^ "剪纸艺术的丰富内涵 _光明网". wenyi.gmw.cn (in Chinese). Retrieved 2023-05-13.
- ^ "剪纸艺术与特殊教育美术教学融合初探_能力_作品_进行". www.sohu.com. Retrieved 2025-04-09.
- ^ "剪纸艺术在高校国际中文教育中的应用研究_参考网". m.fx361.cc. Retrieved 2025-04-09.
- ^ a b Wu Hung (2014). Contemporary Chinese art: a history, 1970s>2000s. London ; New York: Thames & Hudson. ISBN 978-0-500-23920-9. OCLC 881214904.
- ^ "吕胜中 一把神奇剪刀背后的三十年 | Hi艺术 - 当代艺术资讯专家 | 专题 | 人物". hiart.cn. Retrieved 2025-03-08.
- ^ Wu, Ka-ming (January 2015). "Paper-cuts in Modern China: The Search for Modernity, Cultural Tradition, and Women's Liberation". Modern China. 41 (1): 90–127. doi:10.1177/0097700414526133. ISSN 0097-7004.
- ^ Beijing Olympic Committee (2007). 2008 Olympics Cultural Heritage Report. Government White Paper.
- ^ "《中国人的骄傲》奥运题材剪纸艺术展在京开展". www.cflac.org.cn. Retrieved 2025-03-08.
- ^ Li, Fengliang, and Mengchen Zhou. "Innovation of Chinese Traditional Culture from the Perspective of Digital Cultural Industries." Theoretical Studies in Literature and Art 42.6 (2022): 12-19.
- ^ 王欣琦 (2023-06-06). "中国剪纸艺术在现代服装设计中的应用". Design. 08: 642. doi:10.12677/Design.2023.82082.
- ^ Chen, Junxi; Lyu, Desheng (2015). "The Digitalization of Chinese Paper-Cut: Intangible Cultural Heritage Protection and Culture Communication:". doi:10.2991/emim-15.2015.76.
{{cite journal}}: Cite journal requires|journal=(help) - ^ "乡村振兴背景下宁南山区传统剪纸艺术的"守正"与"创新"\t_参考网". www.fx361.cc. Retrieved 2025-04-09.
- ^ "2022年度"中国非物质文化遗产传承人研修培训计划"——"蒙古族刺绣"研修班、"剪纸"培训班结业典礼暨作品展纪实 - 中国非物质文化遗产网·中国非物质文化遗产数字博物馆". www.ihchina.cn. Retrieved 2025-04-09.
- ^ "静乐|"非遗+扶贫"中国剪纸之乡，亮剪吧！_文化". www.sohu.com. Retrieved 2025-04-09.
{{cite web}}: zero width space character in|title=at position 17 (help) - ^ "艺见开坛·活动预告丨简之美 不止于此——剪纸艺术疗愈工作坊_陕西省_美术_都能". www.sohu.com. Retrieved 2025-04-09.
- ^ "从中国到世界：剪纸文化的交流与互鉴—优秀传统文化传播网". www.shaonianfeiyi.com. Retrieved 2025-04-09.
- ^ "60年一个轮回，看剪纸美术片的前世今生_动画". www.sohu.com. Retrieved 2025-04-09.
- ^ 珍, 杨; 刘延琪 (2023-10-12). "剪纸插画在文创产品中的运用研究". Art Research Letters. 12: 308. doi:10.12677/ARL.2023.124051.
- ^ "【中国科学报】剪纸：从民间艺术到纳米制造----中国科学院". www.cas.cn. Retrieved 2025-04-09.
- ^ Wang, Huanchen; Qiu, Tianrun; Li, Jiaping; Lu, Zhicong; Ma, Yuxin (2025-02-12), HarmonyCut: Supporting Creative Chinese Paper-cutting Design with Form and Connotation Harmony, arXiv, doi:10.48550/arXiv.2502.07628, arXiv:2502.07628, retrieved 2025-04-09
Bibliography
[edit]- Zhang Shuxian. Chinese Folk Paper-cutting[J]. China Today (Chinese version), 2005,(05)
- Zhuang Zhiyun. Folk Paper-cutting[J]. Chuang Zuo Ping Tan, 2006,(02)
- Wu, F. A glimpse of Chinese culture through papercuts [Press release], (2004, season-01)
- Wu, Hung. Contemporary Chinese Art: A Critical History. Thames & Hudson, 2012, ISBN 978-0500239015.
External links
[edit]
