Modeling Of The Folk Paper-cut And Its Application In Planar Design

China's folk paper-cut is the most representative artistic style of China's folk arts. It is the foundation of the folk fine arts, and one of the key subjects in the field of the modern planar design. From ancient times to the present, abundant design ideas have shown and expressed by the Chinese folk paper-cut modeling. It gets along in complete harmony with designing so that it is difficult to distinguish them. Our rich and generous national culture resources can be recognized and explored from multi-levels and multi-directions. And it will provide huge promotion to the modern designing to analyze China folk paper-cut modeling deeply and explore the inside information of Chinese national culture and spirit of Chinese taste accurately. Thus the paper mainly analyzes the styles and foundation of China folk paper-cut modeling and discusses its application in planar design.The content and characteristics of the paper are :1. First the paper discusses the origin and development of China's folk paper-cut modeling. The origin of the paper-cut modeling can be traced back to primitive society and it has developed continuously with the development of history. The paper-cut modeling comes from the daily life, and goes beyond it at the same time.2. The folk paper-cut is a materialized artistic symbol. It is an ocular figure, but it possesses abundant intension as the crystal of specific culture at the sametime. It expresses a series of social meanings, as the artistic symbol of the assimilated national thinking. The paper puts forward that the paper-cut modeling is formed through accumulating, selecting and gradual perfecting, and is handed on from generation to generation in conventionalized symbols. In field of design, the symbolic quality of China's folk paper-cut has been defined from two aspects : folk paper-cut culture-The symbol? the modern design idea; tendency of folk aesthetics?? The symbol ? the modern design languages.3. the foundation of paper-cut modeling is that it's shape is composed of the negative and positive. The paper discusses the kind of Chinese thinking which leads to the modeling concept of paper-cut, and analyzes this modeling foundation philosophy both externally and internally. Externally, the negative and positive side of paper-cut can form image of beauty independently, while they can also be unified in a common shape. Internally, the image in paper-cut is negative, while its cultural intension is positive. Comparatively speaking the invisible side is more touching to the inner world. In addition, the basic formation of the paper-cut modeling bears close relation with " S " of Taiji. The paper not only expounds theoretically the idea of applying the actual and empty sides of paper-cut to the design and expansion of space, but also illustrates this idea with concrete examples.4. The vertical-horizontal space-time of paper-cut modeling is the things crossing over space and time put ingeniously together, embodying an all-embracing world view . Starting from aesthetic view, the paper finds this modeling comes from "the Chaos Aesthetics ", and summarizes the essential features of this aesthetic theory. For the Chaos thinking modes in the paper-cut modeling , the author puts forward three aspects: natural modeling way free from any objective and logical restraint; seemingly disorderly but wholly integrated resulting from a random combination of objects across the space and time; representing the beauty, ideal and hope. In planar design, the vertical-horizontal space-time of modeling is a variation of a supernatural prototype, reflecting infinite creation and imagination. With different objects coming into combination across the space and time, the visual process from the whole to the part and then back tothe whole accords with the Chaos Aesthetics, and produces strong visual impact. This part is illustrated with pictures and examples in this paper.5. According to the free perspective embodied in the folk modeling, this paper researches " Harmony between Man and Nature ", an important proposition of Chinese philosophy and aesthetics. It analyses the paper-cut from different aspects of this theory. In the first aspect, human beings and objects in this world all belong to and are unified in one nature, and bringing those invisible into existence is quite essential in paper-cut. In the second aspect, nature is felt with heart and the laws of nature is strictly observed in paper-cut modeling; only every existence is expressed can be counted as natural in the modeling. As for the representation of free perspective, the paper sums up two modes: the free perspective of the internal and external, and that of the front and back. Besides, the paper also discusses the fresh visual effects produced by such free perspective with concrete illustrations.6. This paper analyses the aesthetic view embodied in the image modeling of Chinese paper-cut theoretically. It proposes that the folk paper-cut lays emphasis upon the subjective spirit, pursuing likeness in spirit rather than in form when modeling images. And the concrete techniques to achieve spiritual likeness such as association, metaphor and symbolization are discussed in the paper too. This theory of image modeling is actually what the modern planar design should admire and learn from, because it is the significance behind the image that the customer values most. This part is illustrated with examples.