Paper cutting  (?? ji?n zh?) is one of the traditional folk arts and crafts in China, to be recently classified in UNESCO World Heritage list. The art has a long history which roots they say go back to the years around 200 BC.

A home of paper-making discovery,  China has naturally upgraded its achievements to skilful paper cutting art. Initially cutting patterns were  used in burial ceremonies and religious rituals. Eventually they become extremely popular for decoration purposes.
The cuttings were often used for doors and windows celebrating ornaments, hence they  sometimes referred to as ?? chuanghua – “window flowers”.

The art and technique were passing down from generation to generation and polished by centuries of daily practice. “Window flowers” developed into festive stencils, designs for embroidery, social life symbols, gift and “wish” patterns for different occasions. Grand  silhouettes of Chinese deities, spirits, and legendary heroes were guarding and keeping safe home dwellings. Variety of image symbols of  Chinese traditional lifestyle, joy and happiness were in use:  peony – for wealth, peach – for longevity, pair of ducks – for marital happiness, fish – for study success, etc. Masks of classic operas, Zodiac animals, flowers, insects and birds cuttings were decorating walls, screens, columns, mirrors and lanterns. Red has always been the most favourable colour for these  creations.

Paper cutting is exclusively manual craft. An amateur requires only paper and a pair of scissors or a knife. Professional cutting is using variety of special blades, knives and scissors to create breathtaking patterns and compositions. The cuttings can be done in a single layer or in several ones and two types of cutting technique exist. Under the first one no more than 8 sheets of paper are cut roughly with scissors initially, then stuck to cardboard to be laced with sharp knives finishing. Under  the second method a folded paper is placed on a soft mixture of animal fat and ash to be carved vertically with a sharp knife according to one or multiple patterns.

In Chinese villages the art was predominantly female. Paper cutting skill was one of the most important criteria to choose a bride: prior to  proposal each girl was asked to demonstrate her handcraft sample. But professional craftsmen were mostly male who mastered the trade at special workshops and exploited diversity of cutting devices. Cutting patterns of northern China distinguish by sweeping lines and extensive “heavy” design. Southern cutting mode is more subtle “light” and intricate. They said some skilful virtuous were able to make stylish cuttings inside their clothes` long and wide sleeves, without a single glance at their opuses.

The ancient art is now under extinction in  China. The country`s public and official bodies,  National Society for the Development of Art of Paper Cutting  promote regular exhibitions, «round tables», book publishing. But technological innovations leave little chance for this art to survive among  younger generations.

Fairy Shadows

According to the legend the Chinese shadow theatre art is dating back to the Han dynasty. Sudden death of beloved second wife distressed Emperor Wu (141–87 BC) so much that he

ordered  his servants to bring her back to life by any means. A female figure was cut out of a donkey leather with 11 separate pieces of joints to be animated with bamboo sticks. Painted and decorated silhouette was put behind a mulberry paper screen to move and dance in the light of oil lamp. ??? ( pí y?ng xì) literally “ leather shadow performance” and ??? (deng ying xi) “lamp shadow performance” are other names of this ancient art, which over centuries had transformed into Chinese folklore peculiarity and one of the most popular theatrical genre. It was common for every big Chinese city in the past millennium to host up to 50 shadow theatre troupes and even run this entertainment officially for military staff.
Puppets,  the  main “actors” of the show are first cut from paper with great use of traditional paper cutting technique. To strengthen fragile shape it is stuck  to a tanned piece of sheep, horse, or donkey  skin cut in exactly the same pattern. The figures are very intricate in decoration and costumes usually about 30 cm high, though those represent “positive” heroes, gods, saints may be 70 cm large. Figures assembled of several interconnected parts and very movable. They are easily controlled via steel sticks to produce variety of complex virtuosic movement via twisting, bending, shaking, etc.

Most of the characters represent Chinese folk art, religious and classic literature heroes.
Basics plots for performances are based generally on popular novels, stories, legends, fairy tales, which are interesting and understandable to ordinary Chinese audiences. In some southern provinces the shadow action is accompanied with traditional music and singing to  immerse the audience deep into wonderful world of fantasy.

Nowadays boost of communications and entertainment technologies is displacing shadow theatre as many other types of traditional folk art to extinction grade. China has already spoken about UNESCO World Heritage protection of this unique type of oriental art. It is nominated as “the DNA of Chinese culture”, “the ancestor of movies and cartoons”. Since 2001 the government is officially promoting annual Shadow Theatre Festivals in various parts of the country, donates theatre troupes and puppet craftsmen.
Few private and state-run Shadow Theatre Art Museums were opened to represent shadow figures manufacturing details, historical instruments, stage props, scenarios as well as charming performances alive to save the fading glory of  Chinese shadow puppetry.

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