How to appreciate the details of paper-cut works? 0? three

How to appreciate a really excellent paper-cut work has certain standards. How to appreciate an excellent paper-cut work? 1, knife taste and paper sense A high-quality paper-cut art work must have its own style and characteristics. Every art has its own unique style because of its different tools and expressions. For example, Chinese painting pays attention to pen and ink, western oil painting pays attention to color blocks, and woodcut pays attention to black and white. Paper-cutting should pay attention to the taste of knife and paper. Paper-cutting carved by imitating prints on paper with a knife should not be regarded as "good paper-cutting" or a masterpiece. An excellent paper-cut should use the language of paper-cut to shape the artistic image. 2. A very important feature of exquisite paper-cutting art language is that all images are shaped in exquisite forms. In addition to the performance of paper-cutting tools and materials, this mainly requires that paper-cutting has the practical demand of "light transmission". Especially "window grilles" require this, otherwise, a black paper-cut posted on the window blocks all outdoor light, which is neither transparent nor beautiful. 3. Emphasize that the decoration of an excellent paper-cut art work should emphasize the decorative taste. Plain and symmetrical composition, balanced and elegant picture, appropriate line thickness, bright colors, softness and harmony are all important factors that form the decorative style. In addition, due to the relationship between tools and materials, some unique techniques in paper-cut works (such as "crescent moon" and "sawtooth pattern") are also important factors contributing to its decorative characteristics. 4. Distorted and exaggerated paper-cut art works should emphasize modeling exaggeration and give consideration to the beauty of silhouette. Any image has some beauty and ugliness. The purpose of artistic exaggeration is to strengthen the factors that highlight beauty and reduce and simplify the ugly factors. After exaggeration, the picture will be pleasing to the eye. As the name implies, a pair of scissors and a few sheets of paper are just cutting out various shapes from a piece of thin paper in Pingping Zhang, which is very restrictive in form and cannot be like painting. However, the characteristics of art forms are often only hidden in the limitations of tool performance, and special characteristics emerge from "characteristics". Monochrome paper-cutting and black-and-white woodcut have some similarities. For example, they all carve different forms of blanks from a single background color. The difference is that the woodcut knife shovels off the local surface of the woodcut, and the rest (main line) is still firmly rooted in the woodcut. Its points, lines and surfaces can be broken, connected, gathered and scattered, and can be distributed at any position on the screen. Paper-cut tissue paper is delicate, wrinkled and prone to wrinkling. Almost all people who have studied folk paper-cutting are aware of this. "Paper-cut patterns must connect the paper strips, and you can't break the pen, so the composition and modeling need to be simple, remember that it is too slim and trivial. Otherwise, even if the cut pattern is not damaged, it is difficult to stick to the window paper. " "If we compare folk blue calico with paper-cutting, we can find the characteristics between them. The thread and surface of blue calico are not allowed to be cut, and the shorter the cut, the better, otherwise it is not suitable for printing and dyeing, while the thread and surface of paper-cut (referring to the positive line, such as the red line on red paper-cut) must be connected, and the tighter the connection, the better (the negative line inside is broken and cannot be connected). Otherwise, paper-cutting is in danger of becoming "a plate of sand". " Cheap "is one of its characteristics. When making paper-cuts, the author always avoids flying long lines alone and connects the parts together. The formal beauty of paper-cutting must conform to this premise in order to freely open up a vast world. Limited by the above characteristics, compared with ordinary painting, the cognitive basis of paper-cut art is unique. Painting is mostly based on the concept of three-dimensional space (height, width and depth) or four-dimensional space (height, width, depth and time), thinking in images and taking this as a modeling method. The western realistic painting theory, which embodies the concept of three-dimensional space, advocates "no lines, only volume." "When you sketch, don't just pay attention to the outline, pay attention to the ups and downs of the body. It is ups and downs that dominate the outline! " (Rodin). Although they also use contour lines, they don't recognize the existence of "contour lines". This school adopts a set of extremely strict methods to train painters on the concept of three-dimensional space. It requires the painter to pay attention to the volume, depth and oncoming ups and downs in addition to the height and width, and regard the plane drawing paper as a deep space that can be walked in. The most taboo thing is to regard the object as a head-up clipping outline. On the contrary, due to the limitation of tools, the paper-cutting art of cutting and pasting is no longer longer longer than the so-called "third space" that expresses the "volume, depth and oncoming ups and downs" of objects, so it avoids its shortcomings, develops its strengths and opens up a new world. It only looks at the world from a plane perspective, which is taboo in realistic painting, and takes the concept of two dimensions as the basis of image thinking. In the author's eyes, the object has become a silhouette image with no volume, no space, and no emphasis on the perspective proportional relationship of "near big and far small". The space of the infinite abyss seems to be "squashed" on a plane. Various forms of plastic arts have their own strengths. When objects are displayed, they don't cover everything. Instead, they often take several sets of lines separately. Paper-cutting with two-dimensional concept is more important than the "outline" of the object. Folk artists say, "cut a big sample first", "big sample should be dignified and powerful", and this "big sample" is the outline. Objects convey emotions through unique images, such as shapes and dynamics embodied in outlines. For example, an actor performing a drama on the stage, unlike a close-up shot of a movie actor, pays attention to the tiny trembling of the nose and the seams of the eyes, but mainly conveys the feelings of the characters through big movements and gestures. With regard to time, the author found that people, animals and many side outlines are the most expressive, and the image of side paper-cut is particularly dominant in paper-cut art. If the concept of three-dimensional space has made great progress in plastic arts in recent centuries, then the concept of two-dimensional space entered the free kingdom of graphic plastic arts as early as the 20th century, and became an image thinking form with a long historical foundation and national characteristics in China plastic arts. Han Dynasty stone reliefs made full use of the image expression function of contours, and achieved brilliant artistic achievements through modeling means such as silhouette, dynamic posture, balance and imbalance in black and white scheduling. The so-called "individual points", "eye-to-eye", "white cloth", "interlude", "shelf", "impenetrable" and "scattered perspective" all contain the consciousness of plane concept to varying degrees. Literature can be understood through the bamboo shadow on the wall; Huaguang painted plums "Occasionally, in the moonlight, I saw the thin shadow between the windows oblique and lovely, so I used a pen to adjust its shape." These famous historical stories, which see the entity in a "thin shadow", are vivid manifestations of the concept of two-dimensional space. Shadow play, embroidery and paper-cutting popular among the people today are sisters, and they are highly perfect traditional art forms based on the concept of two-dimensional space. This shows why the key hungry people in Guanzhong, Shaanxi Province borrow the programs of shadow play so freely; Why do folk embroidery use paper-cut to make low flowers? Why do woodcut artists know about knife cutting from Han portraits and folk paper-cuts? Why do rural old ladies who have never seen Han stone reliefs have similar compositions and forms after cutting? This shows that China folk paper-cuts are fertile ground for flowers to grow. The outline is only the basic skeleton of paper-cut modeling, but also needs various details, such as animal eyes, clothes flowers, bird feathers and so on, to enrich, enrich and beautify it. In the words of rural New Year, it is "make a big hinge first, and then carve it". The artistic effect of paper-cutting finally falls on this "print". It is worth noting that, on the one hand, the "carving" of paper-cutting should use almost symbolic programming techniques, such as rolling, dripping and zigzag, to outline the "shapes" of animals' eyes, clothes, flowers and birds' feathers, and pay more attention to finding the rhythm relationship between points, lines and surfaces of various programs in the plane layout. Simplicity is the beauty of paper cutting. Appreciate the best works carefully. Simplicity contains conflicts, contradictions and opposites. Seek richness by simplicity and harmony by comparison. Simple but not rich is easy to be monotonous, and rich but not simple is easy to be confused. This is the embodiment of the dialectical law of pluralism and unity in paper-cutting art, and its simplicity and harmony often refer to the dominant formal elements in the picture. Some are mainly large pieces of noodles, and some are mainly dense silk; Some are mainly straight rigid lines, while others are mainly curved soft lines. For example, the hue of oil painting and the style of Chinese painting seek contrast in harmony, that is, the density, black and white, size, straightness, length, rigidity and softness, trend and so on in the main color; The harmony of contrast is like the cool color in the warm color of painting, the density, dryness, opening and closing in the unified style and so on. The decorative purpose determines the decorative nature of paper-cut art, and smart folk artists know this feature of paper-cut art very well. Cutting words, paying great attention to the floral decoration of clothes; When shearing cattle, we should pay great attention to the vortex pattern of cow hair. Even if the object has no flowers at all, such as cutting a rabbit, you can cut a peach blossom for it, or match a plum blossom (sika deer) between the antlers. This is the "flower among flowers". What's more, many folk paper-cuts have already got rid of the original forms of figures, birds and beasts, but are only abstracted into a combined structure of points, lines and surfaces in a frame, which is almost a veritable "flower". They are like untitled music, intoxicating with rhythmic rhythm. Although they don't necessarily say what it is, their artistic charm is endless. Due to the above characteristics, the word "Jing" in paper-cut modeling is unique. "Accuracy" in the normal state refers to the proportional relationship that conforms to the visual representation. Two-dimensional paper-cut modeling is the best composition of various schemes in plane white cloth. The depth of the author's kung fu lies in whether he can grasp or approach this optimal value, and then it is scientific. Therefore, in the paper-cut art modeling, from a scientific point of view, a very suitable and accurate image is "deformed". Paper-cut modeling tends to be lyrical rather than descriptive, and tends to be freehand rather than realistic. It is not only possible, but also necessary to express its beauty directly by means of imagery, exaggeration, symbol, decoration and even abstraction, taking the optimal values of points, lines and surfaces in the plane layout relationship as the scale. People near and far can be the same size, people and birds can be the same height, one eye can decorate the whole face, and the prototype of life can completely obey the small pieces of paper in the hands of artists and make the distribution suitable for patterns. Some people think that any painting that has been cut by scissors is paper-cut. In fact, those inferior products can only be called "paper-cut paintings" because he has not yet figured out what paper-cut language is. He thinks that painting is omnipotent, painting can replace cutting, and pale and tasteless picture frames can replace the unique artistic charm of paper-cutting. Although these self-sacrificing pseudo-arts are sometimes mixed in publications and exhibitions, they will eventually be replaced by real and beautiful paper-cutting art.