Paper-Cutting Culture

With a history tracing back to the Western Han Dynasty, Chinese paper-cutting emerged alongside the invention of paper. Initially used in religious rituals and festival decorations, it gradually became a way for ordinary people to express good wishes and record life. Flourishing in the Ming and Qing Dynasties, it integrated into folk customs like weddings, funerals, and seasonal festivals, developing diverse styles.

Over time, two main schools formed: Northern styles are bold and vigorous, with simple, strong lines (e.g., Shanxi, Shaanxi, Shandong), where Shaanxi paper-cuts, preserving ancient patterns, are called "living fossils" of national culture; Southern styles are delicate and intricate, represented by Hubei’s Mianyang, Guangdong’s Foshan, and Fujian’s works.

Jingchu Paper-Cutting: The Local Flavor Engraved on Paper

As a vital branch of Chinese paper-cutting, Jingchu paper-cutting (from Hubei and surrounding areas) roots deeply in local culture, embodying the region’s customs and beliefs.

Historical Origins: Sprouting from Ancient Paper Rituals

Tied to ancient witchcraft and paper rituals, Jingchu paper-cutting originated in the spiritual practices of the Chu people. In ancient times, paper was sacred, used in funerals to burn paper clothes and money for ancestors. Witch doctors employed cut-outs for rituals like summoning souls or dispelling evil—for example, Qu Yuan’s Chu Ci mentions "刻方" (carved squares), an early form of paper-cutting, and Du Fu’s poem references "剪纸招吾魂" (paper-cutting to call back the soul). These ritualistic cut-outs, though not modern art, laid the foundation for later folk traditions. By the Tang and Song Dynasties, customs like wearing "golden paper victories" (镂金作胜) during festivals showed paper-cutting had become a daily decorative art.

Artistic Features: Blending Northern and Southern Styles

Jingchu paper-cutting merges bold Northern energy with Southern finesse:

- Style & Technique: It balances ruggedness and delicacy. The "carving" technique (e.g., Xiaogan’s雕花剪纸) uses a small knife on a wax plate to cut multiple layers of paper at once, requiring precise刀法 (knife skills) like steady grip, smooth strokes, and careful order. The result is vivid and intricate, with "阳刻" (sun carving) keeping lines unbroken and "阴刻" (shadow carving) separating them.

- Composition & Themes: Designs are balanced yet exaggerated, with sparse-dense contrasts and symbolic patterns. Themes include auspicious motifs ("Dragon and Phoenix呈祥"), folk stories ("Meng Zong Crying for Bamboo"), and daily scenes, reflecting Jingchu life and values.

Regional Variations: Unique Local Crafts

- Xiaogan Carving Paper-Cutting: Dating to the Western Jin Dynasty, its works are elegant and rhythmic, used in festivals and international cultural exchanges.

- Ezhou Flower Patterns: Listed as a national intangible heritage, Ezhou’s剪纸, dating to the Northern and Southern Dynasties, serves as embroidery templates (hat flowers, shoe flowers, etc.). Artists design templates, stack 12–15 layers of paper, and carve them on a wax plate, creating delicate, auspicious patterns.

- Xiantao (Mianyang) Paper-Cutting: With Neolithic-era origins, it gained fame in the Ming-Qing period for symmetrical designs. Peddlers once sold embroidery patterns door-to-door, and today, it remains a symbol of Xiantao, known for precise knife work and lifelike motifs.

Inheritance and Innovation

As a national intangible heritage, Jingchu paper-cutting is preserved through exhibitions, school courses, and modern innovations. Artists now incorporate themes like National Day and the 20th Party Congress, ensuring this ancient art thrives in new times.

Through symbolism and craftsmanship, these paper-cut works express hopes for happiness and longevity. More than art, they are a mirror of Chinese culture, carrying the wisdom and emotions of a nation.