The modern development of Jianzhi from Binzhou in Shandong Province (using the example of the work of Chinese master Lan Fumei)

Tszin' Fen PhD in Art History Postgraduate student at the School of Arts and Humanities, Far Eastern Federal University, Associate Professor at the School of Art and Design, Heihe University 690922, Russia, Primorsky Krai, Vladivostok, Russian Island str., FEFU campus, building 6.2, sq. 243 tczin.fen1@dvfu.ru Other publications by this author

Fedorovskaya Natal'ya Aleksandrovna Doctor of Art History Professor, Director of the Department of Art and Design, School of Arts and Humanities, Far Eastern Federal University 690922, Russia, Primorsky Krai, Vladivostok, 10 Ajax St., Building F, office 406 fedorovskaya.na@dvfu.ru

Introduction

Among the varieties of decorative and applied art in China, jianzhi, or the art of paper cutting (Chinese: jianzhi), occupies a special place. This is one of the most popular decorative techniques in China, widely known all over the world. Despite the popularity of this technique and the worldwide distribution of jianzhi souvenirs, it should be noted that there is insufficient scientific knowledge of this phenomenon both in China and abroad. In Russian art studies, we note the works of N. V. Martynova, D. R. Slipetskaya ^[1], Wang Keyin ^[2], Wan Jianye ^[3], Yan Zun ^[4], Chen Wen Wen ^[5], Tian Lu ^{[6, 7]}, the author and N. A. Fedorovskaya ^[8], which examines certain aspects of Chinese paper clippings, but this is clearly not enough, so far very little attention has been paid to the regional peculiarities of Jianzhi. In this regard, the study of the stylistic features of jianzhi, formed in different regions of China, in particular in Shandong province, is of undoubted relevance.

Shandong Province has a significant cultural potential based on the historical, cultural, socio-cultural features of the development of this territory. The very fact that this province gave birth to such representatives of Confucianism as Confucius and Meng Tzu makes it a unique spiritual center of Chinese civilization. Lin Yugui and Mao Qingjun in their article indicate that Shandong is the birthplace of the ancient Chinese civilization ^{[9, p. 93]}. The territory of modern Shandong Province is one of the main places where the folk art of papercutting originated in China. Features have gradually formed here, which are preserved and developed by modern craftsmen. There are several types of paper cutting that have their own unique style.

Zhang Guoquan, director of the Laizhou Museum in Shandong Province, discovered two manuscripts from the Qing Dynasty, which contain examples of jianzhi, many of which resemble modern samples. This indicates that Shandong paper cutting reached a high level already during the reign of the Ming and Qing dynasties ^{[10, p. 42]}. Ancient examples of jianzhi art are relatively rare because paper materials decompose easily in the natural environment and are difficult to preserve. There are relatively few preserved Jianzhi artifacts in China.

Shandong paper carving has a wide range of themes and diverse content. Researchers identify two types that have their own stylistic features. Their appearance is associated with different socio-cultural and territorial conditions. The traditional Chinese division by cardinal directions has been preserved here. As a result, the northern tradition or northern jianzhi style from the northern part of Shandong Province, represented by Binzhou, and the eastern tradition or oriental style from the eastern part of this province, represented by Gaomi, stand out.

Chinese researchers Yin Xiuwen and Fan Zoxin believe that jianzhi techniques in the cities of Gaomi and Binzhou differ from paper cutting in southern and northern China, and represent a fusion of "fine" and "coarse" techniques in the south of the Yangtze River and the Jiangbei region ^{[11, p. 87]}. It should be noted that among Chinese scientists there is a position that in the whole north of China paper cutting is simple and energetic, heroic and rough, craftsmen like to use large blocks, solid surfaces, thick lines, whereas in the south of China, when cutting paper, they pay more attention to realism, softness and brightness, sophistication, and processing. relatively difficult.

The purpose of this study is to show the peculiarities of the development of the traditional Jianzhi style from the Chinese city of Binzhou, Shandong province, using the example of the work of the master Lan Fumei.

Jianzhi city of Binzhou

As mentioned earlier, the tradition of the so-called "northern" Jianzhi of Shandong province originated in the north of the province, its center was the city of Binzhou. This technique and style is often identified by this city. Like the more well-known worldwide traditions of papercutting art created in the Yellow River basin areas such as Shaanxi and Gansu provinces, the Jianzhi folk art in Binzhou has also been influenced by the so-called "Yellow River culture (meaning the Yellow River)" and the Qilu culture. It should be noted that the Qilu culture is an important part of traditional Chinese culture, which originated in the states of Qi and Lu in the period before the reign of the Qin Dynasty, and represents a fusion of these two cultures. Qi culture focuses on utilitarianism, while Lu culture focuses on ethics and spirituality. Zhao Yadi writes that the Qi culture is close to the sea, closely related to trade, and therefore more materialistic. Lu culture is more orthodox and conservative, and attaches more importance to people's spiritual level. Regional culture has a great influence on the style of folk art. In fact, what kind of regional culture is there, what kind of folk art style is there ^{[12, p. 68]}.

The geographical coverage of Qilu roughly corresponds to the territory of today's Shandong Province, which, having absorbed the surrounding culture, has formed its own unique artistic style. In 2008, a paper cutout of Binzhou was included in the first batch of national projects to expand the intangible cultural heritage ^[13]. Paper cutting in Binzhou is widespread in the Yellow River basin and in rural areas, where the economy is rich, where folk events are often held, home decorations and sacrifices are widely used.

Information about the Jianzhi art in Binzhou is recorded in ancient manuscripts. The scroll "Ye Huobian" (野获编, yehuobia), written by Shen Defu(1578-1642) during the Ming Dynasty, contains various rules and regulations, people and events, ethnic relations, craft technologies and many other aspects of the culture, history, geography of the Ming Dynasty. Among other things, it mentions jianzhi technology ^{[14, p. 317]}. In the tenth year of the reign of Xianfeng of the Qing Dynasty (1860), the technology of paper cutting was also mentioned in the Binzhou Chronicles, the old version of the Binzhou Chronicles, consists of only 3 parts: the first part is 4 volumes of the Binzhou Chronicles, compiled in the eleventh year of the Wanli Dynasty Ming (1583); the second part consists of 8 volumes of the "Binzhou Chronicles" written by Yang Rongsheng in the forty-fourth year of the Kangxi Dynasty of the Qing Dynasty (1705); the third part consists of 12 volumes of the "Binzhou Chronicles" edited by Li Xiling in the tenth year of Xianfeng's reign (1860). These three "Binzhou Chronicles" describe in detail the history and cultural changes of Binzhou from geographical, humanitarian and other points of view and are an important basis for understanding the history of Binzhou.

Thanks to the information contained in them, it can be said that the art of paper cutting has a long history in Binzhou. And jianzhi art itself is a product of the Yellow River culture and an artistic style formed by the people who lived on this land, preserved, developed and passed on traditions from generation to generation.

The artistic style of paper cutting in Binzhou contains three characteristics, firstly: the structure of paper cutting in Binzhou is strict, simple and energetic. Secondly, from the point of view of expressiveness, the carving technique has absorbed the characteristic features of ancient artistic ornaments, such as painted ceramics and bronze products. Thirdly, paper cutting in Binzhou has a wide range of content (animals, plants, people and utensils) ^{[15, p. 20]}.

One of the brightest living representatives of the Binzhou Jianzhi tradition is the artist and folk master Lan Fumei.

Lan Fumei's creative work

Lan Fumei, a man born in Binzhou, Shandong Province in 1954, is one of the first prominent folk artists in Binzhou. His artistic career began under the influence of his family, from childhood he began to study folk papercutting and needlework, and since 1970 he officially devoted himself to this field of traditional art, he belongs to the so-called first batch of "outstanding folk artists" of Binzhou. In 1970, he began practicing jianzhi ^[16].

Drawing 1. —Lan Fumei "The Holy Warrior Sun Wu" (Chinese: "兵圣孙武"bingshengSunWu), 2007, Binzhou, Shandong Province, Binzhou Library collection.Photo of the author.

Lan Fumei's Jianzhi subjects are diverse, including historical figures, folk festivals, dramatic plots, flowers, birds, fish, insects, poultry, etc. One of Lan Fumei's most representative works is the historical painting "Holy Warrior Sun Wu", which was created in 2007.(Figure 1-2). Sun Wu was a native of the state of Qi (c. 545 BC - 470 BC), was a famous military strategist and statesman during the Spring and Autumn of China, revered as a holy warrior.

The work "The Holy Warrior Sun Wu" depicts a carriage in which three people are sitting: Sun Wu is a tall man in the middle, a coachman on the right, and a guard on the left. Each element of jianzhi is symbolic. The blue-colored paper used by Lan Fumei symbolizes stability, and the hero's pose shows Sun Wu's bravery and majesty. The work decoratively shows costumes from the period of Spring and Autumn in China. Sun Wu is cut larger and wears a traditional Hanfu costume, which makes him stand out from the rest of his entourage. A swallow is depicted above the figure of Sun Wu, which symbolizes spring, vitality and auspiciousness in the Jianzhi tradition. In ancient times, the swallow was considered a long-lived bird, symbolizing peace.

Three horses harnessed to the cart symbolize speed, passion, strength and bravery. In traditional Chinese culture, the horse is seen as a symbol of good luck and prosperity, embodying speed, progress and success. To depict horses, the master uses traditional zigzag patterns that mimic animal hair, making the image more vivid and saturated. Zigzag patterns in jianzhi can also depict grass on plants, used in cases where it is necessary to fill the volume in space. Flowers on the horse's body usually symbolize beauty and prosperity, which not only decorate the work, but also convey the favorable wishes of the author, which he puts into his work. The floral pattern also compositionally emphasizes the horse's croup, gives dynamism to the animal figures, disrupting the uniformity of the zigzag pattern.

Another landmark work by Lan Fumei, "The Woman – Husband of the Princess", was created in 1991, the work was included in the book "Chinese Folk Collection of Papercuts" ^[17]. The plot is taken from a classical Chinese opera and is dedicated to the story of a woman who bravely took on the role of a man in order to preserve her love and honor. The main character's name is Feng Suzhen, she was engaged to Li Zhaoting, but Feng Suzhen's mother did not agree with this marriage, fabricated charges and sent Li Zhaoting to prison. To save Li Zhaoting's future, Feng Suzhen decided to disguise herself as a man and replace her lover for the civil service exam. She managed to get a very good result, then the Emperor wanted her to become the husband of the princess, his daughter. Thanks to Feng's wisdom and courage, she gained love and respect for herself.

The work uses traditional paper cutting methods, thanks to careful composition and fine line processing, the character is cut through clearly, showing delicate facial features and a magnificent costume (Figure 3).

Lan Fumei fills his work with symbols. Traditional Chinese papercutting mainly uses red paper, because the red color is always integrated into the festive atmosphere of Chinese festivals. Red in China represents enthusiasm, love, and celebration. Lan Fumei in jianzhi's "The Princess's Female Husband" uses red paper to better express Feng Suzhen's feelings and her victory in a difficult situation.

Drawing 3. —Lan Fumei "The Woman – Husband of the Princess (Chinese: nvfuma),1991, Binzhou, Shandong Province, the work was included in the book "Chinese Folk Collection of paper cutting".Photo of the author.

In the painting "The Woman-Husband of the Princess", the upper-left corner depicts the building of the Ming Dynasty palace, which creates a historical context, and in the lower-left part of the work, a lotus is carved, which in China embodies purity and elegance, perseverance and indomitableness. Lan Fumei's use of lotus flowers also expresses Feng Suzhen's attitude towards love.

Feng Suzhen herself is depicted on the right. Her hand makes the "orchid finger" movement (these are the thumb and middle fingers circled in a circle, the index finger is straight and cocked, and the ring and little fingers are naturally curved). The "orchid finger" in Chinese opera is a common movement used by women. The artist wanted to show that although Feng Suzhen wears men's clothes, she is still a woman, the master uses this gesture to characterize the heroine, demonstrate her elegance and femininity.

Conclusions

Thus, the traditional jianzhi technique is actively developing in modern China at the regional level. Lan Fumei's work confirms the desire of Chinese craftsmen to preserve and give new life to their traditional decorative art. The artist has made a great contribution to the development of Jianzhi, his works demonstrate the unique charm of Binzhou technology. In both works, you can see dense, massive cutting when the master works with large blocks, making minor cuts. Thus, "simple, rough carving" is manifested in the work of "Holy Warrior Sun Wu" in the sharp outlines of grass, human figures, as well as in the dense rough cutting of horse bodies, where the cutting is not significant. In the work "The Woman is the Husband of the Princess", the figure of the main character is part of a dense block, merging with the curtain, thereby emphasizing the theatricality and decorativeness of the image. As a result, the composition is divided into two parts – large blocks are cut on the sides, while free space remains in the center. Thus, the heroine seems to be separated from the imperial palace.

Lan Fumei's works demonstrate, on the one hand, the preservation of the common traditions of Jianzhi in Shandong province and the specific features of Binzhou technology. On the other hand, they show the skill of the author himself, his style, and Jianzhi's modern artistic capabilities.

Thus, the Shandong folk papercut is a work of art created by Jianzhi artists based on everyday life and Chinese history. The Binzhou papercut is largely due to Lan Fumei's work that has gained recognition throughout China, demonstrating a unique regional tradition that exists to this day.