| Up to now, the special living conditions and cultural backgrounds ofChisel Paper-cut at Tahu in the West of Hunan have been more than 600years.First of all, it fits for people's need for driving out the evil andpursuing propitious, and mainly is used for the embroidery model.Through a mass of field investigation,and take measures the relativeconservative natural environment and the humanities environment, whichfrom the environmental condition, the philosophy thought, the historicalinheritance, the folk custom belief, twins art and so on,the historicalorigin of its formation and development is traced. The subject matter andthe category is concluded is through synthesizing materials and thecharacteristic of cut-paper at Tahu in the third chapter. The Chinesetraditional vision language symbols found in the cut-paper at Tahu aresummarized, and symbol characteristics and the design constitution rulesare analyzed in the fourth chapter. In the fifth chapter, symbol structure isanalyzed, and its characteristics of the artistic psychology arecommentated. With the comparative method of non-historicity controls inthe cultural anthropology, the cut-paper at Tahu is compared with othercut-paper, such as Butterfly series, Constellation series, Nuomian series, and embroidery model in the sixth chapter. In the same theme, further isdiscussed the historical background and the developing process of the cutpaperat Tahu, and on its kinship with other cut-paper and its role in theentire Chinese Cut-paper family as well.Through analyzing the formation and artistic values of the Cut-paperat Tahu,exploring ways for its survival and development, effectiveconservation for this art is provided. Meanwhile, it also explains thesymbol rule of imagism as the Cut-paper at Tahu. So a new direction fortraditional vision art as the Cut-paper is founded, and promotion is got,which is an intangible cultural heritage to the national culture. |
