Contrast and Fusion: The Role of Regional Culture in Shaping Jiangsu Paper-Cut Art

Abstract

The Chinese paper-cut art, first recorded in the Wei, Jin, and Southern and Northern Dynasties (220 AD–589 AD), has witnessed the changes of times, yet it still retains its artistic vitality. Chinese papercuts can be divided into two schools: the northern and the southern. Jiangsu, located in the region of the Yellow River and Huai River, is the geographical dividing line between those two schools. Therefore, in Jiangsu Province, not only the rough northern art form (such as in Xuzhou papercut) but also the graceful southern art form (such as in Jintan papercut) is evident. In addition, the unique combined paper-cut style (such as in Yangzhou and Nanjing papercuts) can be appreciated here. Although several scholars have analyzed the artistic characteristics of Jiangsu papercut based on cultural background, very few have discussed the differences between the northern and the southern in terms of content, connotation, and style. Through literature review and collected works made by local craftsmen and inheritors of this tradition, this article aims to show readers the contrast and integration of papercuts in these four places under the influence of different cultural and economic backgrounds in order to better understand the role of regional factors in shaping the art form of papercuts in Jiangsu Province. Nowadays, with the change in people’s lifestyles, the living space of traditional papercuts has shrunk drastically, and its practicability in the past has faded. Instead, people are searching for and creating cultural and artistic value in museums, tourist attractions, and commodity transactions. Among them, some works have deviated from the cultural background of traditional paper-cut art. Therefore, this paper provides a basis for the current development of this art form in Jiangsu.