Characteristics of Different Styles of North-South Paper-cutting

Paper-cut Yuxian paper-cut

Yuxian county, Hebei province

Yuxian, located in the northwest of Hebei Province, is famous for paper cutting. Yuxian paper-cutting, also known as "window grilles", is a traditional decorative art of local people with a history of more than 200 years. The original patterns are mostly auspicious patterns such as flowers, and then they are integrated into the artistic characteristics of Tianjin Yangliuqing New Year Pictures and Wuqiang New Year Pictures, forming their own unique style. Through the research of Liu Laobu and other paper-cutting artists, the creative tools have been reformed, and the carving knives of some patterns have been changed from single cutting to batch carving knives, which has improved the paper-cutting technology in Yuxian County. At the beginning of the 20th century, under the impetus of artists such as Wang Laoshang, Wang Shouye and Zhou Yongming, the style of Yuxian paper-cutting became more and more prominent, which broke away from the general pattern of folk paper-cutting and had a deeper humanistic connotation.

Yuxian paper-cut is a product of civil society and a portrayal of people's life. It has a wide range of themes and diverse patterns, including opera figures, opera masks, myths and legends, flowers, birds, fish and insects, poultry and livestock, auspicious birds and animals and so on. The knife workers of Yuxian paper-cut not only have the rough and simple characteristics of northern folk paper-cut, but also have the exquisite and beautiful style of southern paper-cut. It has rich colors, strong contrast, strong sense of decoration, strong folk flavor, full of charm and rhythm, showing charming, simple and gorgeous artistic charm, and is deeply favored by the world.

In a wide range of folk paper-cutting art circles, Yuxian paper-cutting is unique in its artistic style of full composition, vivid modeling, gorgeous colors and peculiar craftsmanship. It is mainly based on negative engraving, supplemented by positive engraving, combined with yin and yang, and then painted with multi-color dot dyeing, achieving the effect of artistic expression and appealing to both refined and popular tastes.

Paper-cut Fengning Manchu paper-cut

Fengning Manchu Autonomous County, Hebei Province

Fengning Manchu Autonomous County is located in Saibei, Hebei Province. The spread of Fengning Manchu paper-cut among the people began in the Kangxi period of the Qing Dynasty, and formed a new and different style with regional and national characteristics in the Qianlong period. It is mainly carved in Yang, supplemented by carved in Yin, with long hair and fine cutting. At the end of the Qing Dynasty and the beginning of the Republic of China, Fengning Manchu paper-cutting entered its heyday. After 1949, it further developed in form and content, which was closer to real production and life. After 1960, the artistic creation of paper-cutting fell into a trough. 1982, Fengning Folk Paper-cutting Team was re-established, and its works have had a wide influence at home and abroad, and have been exhibited and performed abroad for many times. 1993, Fengning was named "the hometown of folk paper-cutting art in China" by the Ministry of Culture.

Fengning Manchu paper-cutting can be divided into auspicious paper-cutting, flower-and-bird paper-cutting, landscape paper-cutting, figures, pots and pans, fruits, animals, flower-shaped paper-cutting and so on. From the form of expression, including monochrome paper-cutting (red, white, black and so on. ), stippling paper-cutting, color-filling paper-cutting, multi-color combination paper-cutting and other varieties. According to specific purposes, it can be divided into window grilles, hanging signs for ancestor worship, sweeping the sky on cloudy days, seasonal paper-cutting, fireworks (festive paper-cutting for weddings, plain paper-cutting for funerals) and so on. ), ceiling flowers for daily interior decoration, fighting wind flowers, paper-cutting around Conway, etc. Among many folk paper-cuts in China, Fengning Manchu paper-cuts occupy a place with its unique artistic charm.

At present, most of the traditional paper-cutting skills of Fengning Manchu are still in the hands of the elderly over 70 years old, facing the danger of being lost and in urgent need of rescue and protection.

Paper-cut central paper-cut

Zhongyang County, Shanxi Province

Zhongyang county, Shanxi province is located in Luliang area of loess plateau in the middle reaches of the Yellow River. The folk culture in this area is extremely profound, which preserves many original ecological humanistic environments, thus forming the ancient folk cultural connotation and artistic form of Zhongyang paper-cutting.

Zhongyang paper-cut is mainly distributed in Nanchuan River Basin, Liu Jiaping area and the remote mountainous area of Xishan in Zhongyang County. The folk paper-cutting style in Nanchuan Valley is exquisite, simple and elegant, which occupies the mainstream position in Zhongyang paper-cutting. Liu Jiaping's paper-cut style is simple and vigorous, and the paper-cut style in remote areas of Xishan Mountain is rough and bold, which coexists with the mainstream style of paper-cut in Nanchuan Valley, enriching the characteristics of Zhongyang paper-cut.

Zhongyang paper-cutting is closely related to local traditional folk culture, and its main contents are local folk beliefs, seasons, life etiquette and myths and legends in Zhongyang, including decorative patterns with fish, frogs, snakes and rabbits as themes, folk paper-cutting with seasons and life etiquette as themes, and paper-cutting works with folk myths as themes. Zhongyang paper-cut mostly uses red paper, which reflects the festive and warm folk atmosphere. Sometimes, according to custom, products are cut with purple, black, yellow, green and blue paper. The main authors of Zhongyang paper-cut are working women in Zhongyang rural areas. Paper-cutting is an important part of their daily life and a concentrated expression of their aesthetic taste and wisdom. Zhongyang paper-cut is rich in Shan Ye local flavor and simple aesthetic feeling of primitive art, which vividly records the ideals and pursuits of working women. His skill inheritance is generally spontaneous, and some of it is passed down in a family way. At present, the main inheritors are Wang Jiru, Gao Baoxiang, Liu Yulian, Wang Zhongwen and Ma Cuilian, all of whom are over 60 years old. Once these old people leave, Zhongyang paper-cutting will face the situation of no successor and eventually die out. Therefore, measures should be taken to rescue it as soon as possible.

Paper-cut Yiwulu Mountain Manchu Paper-cut

Jinzhou City, Liaoning Province

The Manchu folk paper-cutting art in Yiwulu Mountain area is mainly manifested in the primitive worship of natural gods, ancestral gods, reproduction and Manchu customs. In the primitive worship activities of Manchu people in Yiwulu Mountain area, totem images are often shaped, or the images of gods are cut and carved with bark and animal skins, or carved with wood, and so on. After years of development, this ritual sculpture activity has become a kind of paper-cutting art, which not only retains the humanistic characteristics of Manchus in Northeast China, but also has a unique artistic form and rich Shaman cultural connotation, and is an important historical material for studying the integration of national cultures.

The Manchu folk paper-cut in Yiwulu Mountain is not only rich in content, but also simple in shape and pattern. There is no need for complicated and meticulous cutting, and there is no need for exquisite and accurate modeling. But mainly win with broad tolerance and simple charm.

For hundreds of years, this Manchu folk paper-cutting art has spread from generation to generation in Beining City, Linghai City, Fuxin City, Yixian County and other places in Yiwulu Mountain area. In many cities and rural areas, many women took part in paper-cutting activities, resulting in many highly skilled and fruitful artists, forming a pedigree handed down from generation to generation. At present, there are still more than ten genealogies such as Hou Guizhi, Huang and Wang Xiuxia. With the gradual death of the older generation of artists, there will be no successors, and they may decline at any time under the impact of modern lifestyles. Therefore, it is necessary to make a plan to protect this ancient national folk art.

Paper-cut Yangzhou paper-cut

Yangzhou City, Jiangsu Province

Yangzhou is one of the earliest areas where paper-cutting was popular in China, and there was a custom of "paper-cutting to welcome the spring" in the Tang and Song Dynasties. On that day in beginning of spring, Yangzhou people cut paper into flowers and made them into patterns such as spring butterfly, spring thread and spring victory. "Hanging on top of a beautiful woman or under a flower" is also a pleasure to watch. In addition, paper money, paper horses, etc. It's also for the memorial ceremony. In the Qing Dynasty, Yangzhou's commerce flourished, and the number of paper-cut artists also increased greatly. During Jiaqing and Daoguang years, famous paper-cutting artists were Bao Jun and so on. This person is highly skilled and has the reputation of "God scissors". Paper-cut artists in Yangzhou also create embroidery patterns according to their needs, from curtains and bedding pillowcases to mirror sachets and handkerchief pencil cases. If there is embroidery, there must be patterns. Yangzhou people call paper-cut artists "paper-cut people".

Yangzhou paper-cut lines are exquisite and smooth, the composition is exquisite and elegant, the image is exaggerated and concise, and the techniques are innovative, forming a unique "paper-cut feeling" and artistic charm. It is one of the representatives of folk paper-cut art in southern China. Its paper is mainly made by hand in Anhui, with moderate thickness, colorless dyeing and smooth texture.

The main inheritors of modern Yangzhou paper-cutting are Zhang Jinsheng (stage name "Lao Zhang Ma Sanzi") and Zhang Yongshou (stage name "Xiao Zhang Ma Sanzi"). Zhang Yongshou has been engaged in art for more than 70 years, and his paper-cutting has changed from practical patterns to decorative theme creation. His works show realistic, changeable, generalized and exaggerated style characteristics, and sum up the paper-cutting points such as "round as autumn moon, sharp as wheat awn, square as blue brick, jagged as sawtooth, and line as beard", which left valuable "creation classics" for later paper-cutting artists. Zhang Yongshou created thousands of works in his life, among which "A Hundred Flowers Bloom", "A Hundred Chrysanthemums Picture" and "A Hundred Butterflies Love Flower Picture" are of great artistic value and are called "Observation Works in Paper-cutting Art". 1989, Mr Zhang Yongshou passed away. Although his third-generation inheritors have made certain artistic achievements, their skills and aura cannot surpass those of the previous generation. Today, the trend that Yangzhou paper-cutting skills have no successors has become more and more obvious. This ancient folk art is in an endangered state and needs urgent protection and support.

Paper-cut Yueqing fine line engraving paper

Yueqing City, Zhejiang Province

Yueqing City is located in the southeast coast of Zhejiang Province. Fine line carving in Yueqing is a unique local art, mainly concentrated in Si Qian Village and Houheng Village in Xiangyang Town, Yueqing City, Caidong Village in Beibaixiang Town, Lecheng Town, Liushi Town and Wengyang Town.

Yueqing paper-cut originated from Yueqing folk paper-cut "Dragon Boat Flower", which has a history of more than 700 years. According to the Records of Yueqing County, during the Dade period of the Yuan Dynasty, "she sang songs, cut the ribbon for all and enjoyed by the people". The "ribbon cutting" here is paper cutting. On the fifteenth day of the first month of each year, dragon lanterns parade everywhere in the countryside of Yueqing. Dragon boat paper binding and fine line carving are the basic techniques and decorative means of dragon boat lights. In the early days, the thin line carving on the dragon boat lantern was a simple geometric pattern, and later, flowers and birds, landscapes, opera figures, fairy tales and other contents were developed, such as the Nine Lions and the Octagonal Pisces. The modern inheritors of Yueqing fine-line engraving paper are Lin, Lin Shunkui, Zheng Yuanxun,.

Yueqing Fine-line Carving Paper is exquisite, tall and powerful, with fine patterns like hair, non-greasy workmanship, uncomplicated fibers and rich expressions. One of its most prominent features is its thinness. In the early days, 52 lines could be carved on the thinnest one-inch square piece of paper, and it took more than ten days to carve a large bowl with thin lines, which was very labor-consuming. Fine-line engraving technology enables all kinds of folk patterns to be carefully and richly displayed on a few centimeters square paper, making Yueqing fine-line engraving paper known as "the representative of the South School of Chinese Paper-cutting".

Fine line carving technology is difficult to master in a short time, and it usually takes decades of carving efforts to create beautiful works. In recent twenty years, with the booming of light industry in Wenzhou, the production of paper-cut handicrafts in Yueqing City has been impacted and declined. Many people abandon art and go to sea, and the old artists are senile and lack successors.

Paper-cut Guangdong paper-cut

Foshan City, Shantou City and Chaozhou City in Guangdong Province

Guangdong paper-cut is mainly composed of Foshan paper-cut spread in Foshan, Chaoyang paper-cut popular in Chaoshan and Chaozhou paper-cut spread in Chaozhou. Foshan is located in the south-central part of Guangdong Province, in the hinterland of the Pearl River Delta. Foshan paper-cutting is a folk art developed from local folk activities, which is mainly distributed in some towns and villages in Chancheng District and Nanhai District of Foshan City.

Foshan paper-cut is said to have originated in the Central Plains, developed in combination with local folk customs, handicrafts and commerce, and gradually became a market in the Qing Dynasty, with the emergence of guild organizations. At the beginning of the 20th century, 12 lines related to Foshan paper-cutting, such as door money, fairy tales, Fu Shu Yi Zhi, Liu Zhi, Jin Hua, ground paper, dipped paper, copper foil, vermilion dyed paper, bonus dyed paper and dyed paper, all flourished, with hundreds of shops and nearly 3,000 workers. The impregnated paper and all kinds of dyed paper they produce are all paper-cut in Foshan.

Foshan paper-cutting can be divided into four categories: solid color paper-cutting, contrast color paper-cutting, writing paper-cutting and copper chisel paper-cutting. According to different materials, it can be divided into nine categories: solid color material, paper lining, copper lining, dyeing material, woodcut overprint material, copper writing material, silver writing material, paper writing material and copper chisel material. Paper-cutting technology can be divided into two categories: cutting and carving. Cut, mostly at will, two or three pieces at a time, such as fireworks, snuff, candlestick flowers, incense table flowers, cake flowers and so on. Made by this method; Carving, each time can be carved 20 to 30, and rough patterns can be carved 50 to 100, which is convenient for batch copying. Carving knives used for paper-cutting in Foshan vary in size, and are generally ground at will, ranging in width from 3mm to 1mm, with a set of more than a dozen knives. Hold the knife with a brush, cut vertically, and connect the lines continuously to form a net. The content and form of traditional Foshan paper-cutting are determined by social conditions and public opinion. Celebration, auspiciousness, exorcism and longevity are eternal themes, which are extremely popular among the people and have long been deeply rooted in the hearts of the people. Corresponding to this theme, Foshan paper-cut has formed a unique local style with the bright characteristics of copper foil and bright colored paper, and also formed a unique expression form such as copper chisel paper-cut. At present, the main inheritors of Foshan paper-cutting skills are Lin Zaihua and others.

Foshan paper-cutting has a tradition of industrialization. Strengthening the excavation and protection of it will help to study the folk activities and forms of folk culture in the Pearl River Delta, and at the same time, it will also prosper the folk culture market and enhance the regional cultural characteristics. But at present, the professional team of Foshan paper-cutting is not connected. The most distinctive copper chisel paper-cut can't be made because of the loss of tools and the fact that copper foil as the main material is no longer produced. In addition, many traditional techniques are in danger of being lost and need to be preserved urgently.

Chaoyang paper-cut is mainly distributed in Chaoshan area, Guangdong Province, represented by Union, Xiqiao, Heping and Guiyu Town in Chaoyang District. The rise of Chaoyang paper-cutting is related to the Central Plains people who moved here. This paper-cut style mostly shows auspicious themes, such as auspicious celebration, Fulu's birthday, Five Blessingg's prosperity, descendants' continuation, bumper harvests and six animals' prosperity. It is usually used as decoration in god competitions, Lantern Festival lights-off, Mid-Autumn Festival Yue Bai, the celebration of wedding customs and ancestor worship, etc. It also shows some daily life contents, such as flowers, birds, insects, fish, animals, folklore, fairy tales and opera figures. In addition to the above varieties, Chaoyang paper-cut also has some small decorative patterns, such as flowers, flowers and so on. Chaoyang paper-cut is flexible in shape, symmetrical in composition, rigorous in structure, full and not messy, especially the layout of "flowers in flowers" is the most distinctive, dense and exquisite. Paper-cutting knife is exquisite and delicate, mainly male scissors, combined with female scissors. The lines of male scissors are neat and meticulous, and the lines of female scissors are strong and powerful. Coupled with the technique of "arranging flowers in flowers", the expressive force is very rich.

Since 1980s, Chaoyang District Government has organized forces to excavate, arrange, protect and study Chaoyang folk paper-cuts. 1989 18 1 piece sorted out nearly 500 patterns and published the book Chaoyang Folk Paper-cutting. In 2003, more than 50 Chaoyang paper-cut works were included in The Complete Works of China Folk Art? Paper-cut volumes, China Folk Auspicious Art Fair, Complete Works of Chaoshan Folk Art? Paper-cut scrolls and other books. 65438-0997 Chaoyang District was named as "the hometown of folk art (paper-cut art) in Guangdong Province" by the Guangdong provincial government. At present, the main inheritors of Chaoyang folk paper-cutting are Zhang Peilong, Cai Mingying and Li Chanxian. However, the average age of living artists is over 75 years old, and young people are urgently needed to join the inheritance.

Chaozhou is a port city on the eastern coast of Guangdong Province. Chaozhou paper-cut is mainly distributed in eastern Guangdong. It prevailed in Ming Dynasty, flourished in Qing Dynasty, and reached its peak in Guangxu period. The existing work Bat (Simapu Town, Chaozhou City) during the Yongzheng period of the Qing Dynasty is cut with brown silk thread, which shows that Chaozhou paper-cutting has already reached a high artistic level.

In the middle of Qing dynasty, Chaozhou temple building became a common practice. In this context, paper-cutting is used as an ornament in folk activities such as sacrifices, festivals, wandering competitions, weddings and funerals, and monks and nuns in temples also present paper-cutting flowers to kind men and women, so Chaozhou paper-cutting has developed rapidly in temples. By the beginning of the 20th century, Chaoshan paper-cut artists brought out by nuns, such as Jiang Genhe, Li, Yang Xueyou, Luo Ruiyu, Gu Qiuquan and Xie Chuzhou, had played a role in local paper-cut creation. After 1962, Chaozhou paper-cut was gradually lost because there were no monks and nuns in the temple and monks and nuns became monks.

Chaozhou paper-cut theme involves flowers and fruits, animals, figures, landscapes and text patterns, with strong local cultural characteristics. Different paper-cut artists often have different styles such as meticulous, bold and elegant. According to the form, Chaozhou paper-cutting has three types: solid color, multicolor, positive engraving and negative engraving. Chaozhou folk paper-cutting artists are good at stacking three or five colored papers together, skillfully using scissors and cutting out various patterns with skillful skills. For example, solid color paper-cutting gives full play to the characteristics of "scissors", and creates a vivid artistic image with slender and beautiful lines and exaggerated deformation. Scissors are rich in flavor and decorative. Solid color paper-cutting has a characteristic, that is, it does not draw a draft. The artist just takes the paper in one hand and cuts it in the other, relying on memory and imagination to cut out the pattern directly. This ingenious cutting method is very creative, lively and changeable, and there are few repeated works. Multi-color paper-cutting is to cut out various parts of the object with multi-color paper, and then combine them into a complete paper-cutting work, which is vivid, meticulous and distinctive.

Chaozhou paper-cut has a variety called "chiseling paper", which is made by putting patterns on colored paper or gold foil and chiseling with a carving knife. "Chi paper" is divided into color paper-cut and writing paper-cut. Color line paper-cutting uses gold foil or black paper to carve the outline first, and then uses color paper as the base material; Writing paper-cut uses solid color paper or gold foil to describe the image of line skeleton, and then uses color to paint on the substrate. The colored paper in Loujin Village, Raoping County is most famous for its papermaking technology. Colored paper, commonly known as "big bills", is used to worship gods, ancestors or walk around gods. Its contents are mainly opera figures, birds, animals, insects, fish, flowers, Bo Gu, poetry and calligraphy.

Nowadays, people's lifestyle has changed a lot. Chaozhou paper-cutting has gradually lost its previous living environment. There are less than ten well-known paper-cut artists, and they are getting older and older. Traditional Chaozhou paper-cutting has no successors, and it is in urgent need of rescue and protection.

Paper-cutting wears paper-cutting

Luxi City, Yunnan Province

Dai paper-cutting is mainly popular in Luxi City, Dehong Prefecture, Yunnan Province. Its earliest form originated from the paper flag used in Dai sacrificial ceremonies. Later, under the influence of Buddhist culture and Central Plains culture, it gradually enriched and developed, forming a perfect paper-cut, which was widely used in sacrifices, Buddha statues, funerals, celebrations and home decoration. In Luxi, almost all Dai villagers can cut paper.

Dai paper-cutting in Luxi uses special scissors, chisel, chisel and hammer as tools. Scissors and chisels are sharp, narrow and thin, and can generally cut eight layers of paper. Chisels and hammers have the characteristics of stability, drilling, agility and liveliness, and can chisel more than 50 layers of paper at a time. Dai paper-cutting can be divided into two methods: cutting and chiseling. No samples can be cut at will. The chisel needs a draft sample and is made according to the sample. The main products of Dai paper-cutting are iron, Dong, Buddha flag, hanging lamp, hanging building, board and so on. , mostly used to decorate doors and windows of Buddhist temples, Buddha umbrellas, Buddha banners, performance props, holiday color sheds, Long Ting splashing water, etc. The content of Dai paper-cut is mostly related to the southern Buddhism that Dai people believe in. Involving Buddhist stories, folklore and frontier customs and specialties, it has a strong flavor of life and local flavor.

Common figures include dragons and phoenixes, peacocks, elephants, lions, unicorns, red deer, horses, swimming fish and all kinds of rare birds and animals, as well as flowers and trees such as sticky flowers, lotus flowers, roses, chrysanthemums, camellias and azaleas, as well as pavilions, temples and other buildings, with vivid images, neat patterns, symmetrical beauty, rough and powerful style and unpretentious. Dai paper-cutting occupies an important and special position in local social life. The connotation and external manifestations of paper-cutting reflect the historical and cultural traditions, aesthetic pursuit and unique national spirit of the Dai people.

In the current fast-changing society, Dai paper-cutting is facing difficulties. Because of the low income of paper-cutting artists, most young people are reluctant to engage in this industry. At present, Dai paper-cutting has few inheritors and is old, so this characteristic national art needs urgent rescue and protection.

Paper-cut Ansai paper-cut

Ansai County, Shaanxi Province

Ansai paper-cutting is a popular folk art in Ansai County, Shaanxi Province. On most festive days, Ansai women hinge paper-cuts, stick grilles. In the twelfth lunar month, women get together early to cut paper for the Spring Festival. Near the end of the year, every household's new white window paper is covered with red and green paper-cuts. In this way, a village is a paper-cut art exhibition.

Some experts commented that Shaanxi paper-cut is in northern Shaanxi, and northern Shaanxi paper-cut is in Ansai. Ansai paper-cut is not only beautifully shaped and exquisitely cut, but also has profound historical and cultural connotations, including aesthetics, history, philosophy, folklore, archaeology, cultural anthropology and so on. It is known as the "cultural relic on the ground" and the "living fossil" of culture.

Ansai paper-cut has various forms, simple and bright style, rough and bright lines, simple and simple meaning, full of expectations for peace and good luck.

Paper-cut magnetic paper-cut

Magnetic paper-cut can be attached to magnetic photo frames, magnetic drawing axes and magnetic writing boards by its own magnetism, and can also be attached to iron objects such as refrigerators, security doors, cars, filing cabinets and pencil boxes. Spray some water or clean it, or stick it on glass or other smooth surfaces. Magnetic paper-cutting can more fully reflect the through-carving characteristics of paper-cutting and the through-air effect of paper-cutting.

Magnetic paper-cutting is the inheritance and development of paper-cutting art, and its contributions to paper-cutting are as follows: first, magnetic paper-cutting expands the market of paper-cutting; Second, magnetic paper-cutting enriches the theory of paper-cutting; Thirdly, magnetic paper-cutting enhances the artistic expression of paper-cutting, and the artistic creation techniques are innovative and the artistic expression techniques are more diversified.

Magnetic paper-cutting is a utility model (patent number: ZL 200420067 15 1.0), which was granted the patent right by the Intellectual Property Office of the People's Republic of China on August 17, 2005.

The state attaches great importance to the protection of intangible cultural heritage. On May 20th, 2006, this heritage was approved by the State Council to be included in the first batch of national intangible cultural heritage list. On June 8, 2007, Shanghai Li Paper-cut Art Master Studio won the first Cultural Heritage Day Award from the Ministry of Culture.

Gaomi paper-cutting

Gaomi paper-cut is a wonderful flower in Chinese paper-cut gardens. Shandong Gaomi paper-cutting has a long history and is widely used. The technique of Jiangnan paper-cutting and the roughness of Jiangbei paper-cutting are combined in one furnace. On holidays, the doors, windows, roofs, boxes and wardrobes of the farmhouse are decorated with paper-cuts, which are rich in content and full of life. According to research, in the early years of Hongwu in Ming Dynasty, a large number of immigrants moved to Gaomi, among which many folk paper-cutting artists brought different styles of paper-cutting art to Gaomi and integrated them, forming a unique paper-cutting art style in Gaomi. Gaomi folk paper-cut uses the technique of unity of opposites in art, and blocks and lines form three tones of black, white and gray, which are in contrast and full of rhythm. The lines are strong and straight, with a golden stone flavor; The composition is exaggerated and distorted without distortion; Seeing beauty in roughness and hiding exquisiteness, exquisiteness, simplicity and loveliness in simplicity; In the form of expression, the clever use of black blocks and thin lines, the good use of sawtooth patterns and glossy surfaces, the artistic effect is rough and delicate, simple but not monotonous, concise and exquisite, vivid and vivid. It has a wide range of materials, a strong flavor of life and people's good wishes. "Window flowers", "shoe flowers", "ceiling flowers", "steamed bread flowers" and paper-cut works with figures, animals, flowers and birds and stories as themes are deeply loved by the masses. From 65438 to 0984, Gaomi folk paper-cut was exhibited in Beijing, further establishing its position in China folk paper-cut circles. 65438-0993 Gaomi was awarded the title of "Hometown of Folk Paper-cutting in China" by the Ministry of Culture. In February 2008, it was selected as "the second batch of national intangible cultural heritage list". Since the reform and opening up, Gaomi paper-cutting has gone global, not only as a gift for overseas personnel, but also on display abroad for many times. Among them, Qi Xiuhua, who is known as the "female champion" of folk paper-cutting art, once cut out the picture of "Golden Bull parting its hoof" at 1996 and was selected as the stamp pattern of China Zodiac. 1997, in order to welcome the return of Hong Kong, she carefully conceived and cut out 1997 cows of different shapes, leaving a permanent memory for the special day of Hong Kong's return.