Songjiang paper-cutting

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Songjiang paper-cutting has long been an integral part of religious rituals, folk temple fairs, traditional festivals, and various cultural activities, with both practical significance and artistic vitality.

This art form is grounded in the concept of "three footholds": it draws on folk traditions, reflects life's emotions, and embraces creativity.

Historically, Songjiang paper-cutting gained popularity as early as the time of the Five Generations, as recorded in Wulin Fanzhi. It mentions that during the reign of the Wu Yue Tramp King, people would decorate their homes with colored paper cuttings of horses and men instead of hanging brocades. This indicates that paper-cutting was a well-established practice in the Songjiang area by that time, with a significant and widespread presence.

Songjiang paper-cutting remains closely connected with local religious rituals, folk temples, and traditional festivals, and it continues to thrive as an art form with deep cultural significance. The craft is mainly found in Chedun Town, Xinqiao Town, Shihudang Town, Yueyang Street, Yongfeng Street, Zhongshan Street, and other areas. Over the years, it has served to enhance numerous folk activities.

Songjiang paper-cutting is based on three core principles: it reflects folk traditions, expresses life's emotions, and represents a qualitative leap in creative expression. The art has evolved from merely serving traditional festivals to creating innovative and artistic transformations. Following the liberation, under the guidance of influential figures such as Wang Yukou, Liu Zhilu, and Huang Yuan, local folk artists continued sporadic yet persistent creative efforts. To this day, Songjiang paper-cutting has been showcased in more than ten consecutive exhibitions, with thousands of works created on various themes. In 2005, the Songjiang District Cultural Centre established a "paper-cutting salon", which gathered over 80 enthusiasts. The publication of books such as Songjiang Paper-Cutting Collection further promoted the art form. Today, artists like Wang Yukou, Tian Baoqi, Qian Bingrong, Zhang Yaozhong, Lu Yongqing, You Feng, and Gu Peilian have developed their own distinct artistic styles, pursuing their individual creative and aesthetic goals.

Songjiang paper-cutting is typically divided into two main techniques: cutting and carving. The tools used for cutting include large scissors, and sometimes smaller pairs, to achieve different levels of detail in the patterns. Carving tools include carving knives, discs, rulers, and other specialized instruments. The paper used is varied, and different cutting methods are employed, including folding, Yin-line cutting, Yang-line cutting, a combination of Yin and Yang cutting, smoke cutting, dyeing cutting, lining cutting, and cutting and pasting methods.

As a form of folk art, Songjiang paper-cutting reflects the region's local customs, aesthetic values, psychological qualities, and methods of expression. Its distinctive style blends strength, exaggeration, decoration, and calligraphy, while the use of thick and thin knives reveals the creator's intent and conveys both ideological content and aesthetic expression. The works often draw on the lives, folklore, and customs of Jiangnan people, using these themes to create striking and meaningful compositions.

Original Chinese text source:
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