Symbolism in the works of art of jianzhi 剪纸 Jinzhou district

Van' Jianye PhD in Art History Phd, Department of Semiotics and General Theory of Art, Lomonosov Moscow State University 119991, Russia, Moskva oblast', g. Moscow, ul. Mikroraion Leninskie Gory, 1 jianye.wan@bk.ru Other publications by this author

Jianzhi (the art of paper cutting) is one of the oldest traditional folk arts with a long history, which is widely spread in China. Jianzhi art is an important representative of Chinese folklore craft ^[1,9c]. Since jianzhi art has an extensive creative community, the subjects of the works of this craft are mainly taken from people's lives. They reflect the aesthetic feelings and craft spirit of the people. The style of jianzhi's works in Jinzhou is simple and concise, rough and atmospheric, mainly represented by large blocks combining form, meaning and spirit, with strong visual effects and exaggerated expressiveness. In this article we will consider the main semantic plots and messages of these works, as well as the symbolism of various kinds of patterns and images.  This article has several semantic blocks: symbolism in the depiction of animals, symbolism of plant motifs, symbolism in the depiction of characters, symbolism of household items, symbolism in the depiction of hieroglyphs and patterns.

1. Symbolism in the image of animals

In the theme of jianzhi's works from Jinzhou, you can meet such animals as dragons, phoenixes, qilinis, lions, tigers, magpies, fish, mice, sheep, deer and rabbits. These animals are typical figures in the works of jianzhi. In traditional culture, people attach many special symbolic meanings to them ^[2,3c]. Consider the symbolism in the depiction of these animals in the works of jianzhi from Jinzhou.

For example, a dragon is not only an animal from Chinese mythology, but also a symbol of the Chinese nation. In feudal society, the dragon also personified the supreme imperial power, and in folklore it was a symbol of good luck and good fortune ^[3,37c].

The phoenix is considered a sacred bird, meaning peace, luck and brightness ^[4,168c]. Qilin is a fictional animal from mythology and legends, which is used as a symbol of good luck (Fig. 1.1).

The lion, which basically denotes good luck, is usually depicted rolling an embroidered ball (Fig. 1.2).

The tiger is the king of all animals, he is worshipped as a folk totem, because he is majestic and endowed with the meaning of deliverance from disasters and protection from evil spirits (Fig. 1.3). Many adults let their children wear tiger boots and hats as a protective mascot ^[5,3c].

In jianzhi there are works depicting a monkey eating a peach (Fig. 1.4). This symbol has a double meaning - the worship of fertility, as well as luck and longevity. In this symbol, the cult of fertility is manifested by comparing a monkey with a man and a peach with a woman. The symbolism of luck and longevity is that a monkey is compared to a person who can live a long life eating peaches.

Depending on the subject of the work, the magpie has different meanings, for example, happiness, peace, good news ^[6,1c].

Tangerine ducks are often depicted in pairs and attached to the bride's room as a symbol of faithful love, while signifying a hundred years of good luck, life and death together, as well as eternal union.

The goldfish in the images are represented connecting at the head and tail, forming a pattern that means a golden jade hall and great wealth ^[7,66c].

Figure 1.1 Qilin brings sons                       Figure 1.2 Lion and hydrangea

Fig. 1.1 Qilin SongZi                                                 Fig. 1.2 The lion rolls silk

Figure 1.3 The King of Beasts                                           Figure 1.4 A monkey eating a peach

Fig. 1.3 The king of beasts                                    Fig. 1.4 Monkey eats peaches

2. Symbolism of plant motifs

Plants are relatively hardy and resilient, thanks to these properties they are given many cultural meanings. In the works of jianzhi from Jinzhou, plants such as peonies, grapes, pumpkin and persimmon are common, which mainly carry the symbolic meaning of prosperity and good luck. Let's consider what meaning is invested in the images of these plants in the art of jianzhi.

Grapes symbolize having many children. If the pattern is made up of various plants, the symbolism will be even more multifaceted. For example, the combination of pomegranate and peony means fertility and having many children ^[8,4c]. The combination of a fish and a lotus symbolizes the imminent birth of a son, since a fish can mean a man, and a lotus - a woman, which means the union of a man and a woman. Persimmon is combined with the motif of "longevity" of Jui as a sign that everything is going as it should go (Fig. 1.5). Watermelon is intertwined with a vine, forming a motif of melon and pumpkin, meaning the succession of offspring (Fig. 1.6).

Figure 1.5 Wishing well-being                    Figure 1.6 Wishes of children and grandchildren

Fig. 1.5  Everything goes well                             Fig. 1.6 Large and small melons

3. Symbolism in the depiction of characters

There are many images in the theme of jianzhi's works from Jinzhou that belong to the category of characters, some of which are presented separately or in combination with flora and fauna. These include zhuaji dolls, ritual dolls, pumpkin dolls, children and characters from Chinese opera. The zhuaji doll, also known as the "happy doll", is a symbol of wealth, good luck and fertility. Pumpkin dolls are also used to pray for sons and children, symbolizing the prosperity of mankind. The ritual doll is designed to prevent trouble, and symbolizes a prayer for protection from spirits ^[9,4c]. In ancient times, there was a custom: when a child fell ill and lost consciousness, it was believed that his soul was lost, so they cut out a doll and hung it in front of the door so that the child's soul could respond.

The characters of the opera often have exaggerated forms and bright appearance to emphasize their individuality, without losing their realism. These features improve the understanding of the storyline and form a unique artistic style. Depending on the plot of the opera, various symbolic meanings can be expressed, for example, the story of the "Female Friend" in the Huangmei Opera. It tells the story of Feng Suzhen, a woman who risks her life to save her husband, and eventually finds a happy marriage. Another example of the story expressed in the art of jianzhi is the story described in "Tang and Shi" about how Zhong Kui caught ghosts (Fig. 1.7). This story is about how important it is to do good deeds and repay good for good. Another example is the mythical story of Liu Hai playing with a golden toad (Figure 1.8). Its source is a Taoist tale about a golden toad in a well in Changde, which often spewed a ray of light at night so that people with virtue could ascend directly to the immortal world through this white light. The main character Liu Hai, who lives nearby, is a kind-hearted man who lives with his mother and is respectful to her in accordance with Chinese traditions. The fox spirit wanted to help Liu Hai ascend to heaven, so he took the form of a beautiful girl and married him. One day, the spirit spat out a white pearl and gave it to Liu Hai as bait to catch fish in the well so that he could turn to the magic toad. This story tells about the importance of filial piety, because it was thanks to this quality that Liu Hai received a blessing from the spirit, and the desire for a better life, that is, to ascend to a better world.

Figure 1.7 Zhong Kui catches a ghost Figure 1.8 Liu Hai plays the Golden Toad

Fig. 1.7 The Chinese ghost buste                        Fig. 1.8 Liu play toad

4. Symbolism of everyday objects

The objects depicted on the works of art of jianzhi from Jinzhou are mainly bowls, pots and basins, which are containers with a symbolic meaning of collecting wealth and cultivating all things. For example, a bowl and a teapot are associated with the theme of fertility, if the bowl is depicted from above, it is the world, the earth. If two bowls clamp each other so that they can unite into one whole, then they symbolize heaven and earth joining into one whole for the prosperity of people (yin and yang connection)^[10,6c]. Most often, art objects with such images can be found in the room of the newlyweds.

There are images such as patterns of flowers in a bottle, which mean peace in all seasons (Fig. 1.9). There are images of lotus flowers in a vase, where "lotus" and "vase" are in harmony with the word "pin", which means harmony and peace (Fig. 1.10).

Figure 1.9 Peace all year round Figure 1.10 Peace and harmony

Fig. 1.9 The four seasons of peace                   Fig. 1.10 harmonious peaceful

5. Symbolism in the image of hieroglyphs and patterns

In the works of art of jianzhi there are images of hieroglyphs. For example, you can find such hieroglyphs as "Si", "Fu", "Show", "Gan", and so on. The hieroglyph "Si" is mainly used for decoration at weddings, it means happiness. Jianzhi with the word "Show" is mainly used to celebrate the birthdays of the elderly. The hieroglyph "gan" ?, which has the meaning of yang, symbolizes the sun, fire and masculinity. The image of several of these hieroglyphs one after another form a continuous pattern, meaning continuous happiness ^[11,3c]. The pattern of hieroglyphs "wan", a Buddhist swastika, symbolizes the continuity of generations, longevity, wealth and prosperity.

The main symbols of jianzhi in Jinzhou are patterns in the form of sun rays, crescents, drops and willow leaves, which are the most common decorative patterns in various types of Chinese art.

Round symbols are most often used to represent the eyes of people or animals, organs, etc. (Figure 1.11). A plum blossom, for example, can be formed by six circles. These circular symbols are used on vegetables, flowers and fruits to denote seeds and fruits, as well as for decorative purposes.

Figure 1.11 Image of the sun and its evolution

Fig. 1.11Swirl marks and evolution

The crescent shape is used in various patterns, for example on the eyebrows, to depict figures or animals (Fig. 1.12). Successive crescents can form wavy and swirling patterns that are characterized by high dynamics and vigor.

Figure 1.12 Image of the month and its evolution

Fig.1.12 Crescent moon and evolution

Another common pattern is a figure in the form of a drop. The shape of the drop, rounded at one end and pointed at the other, resembles a combination of the shape of a sunbeam and the shape of willow leaves (Fig. 1.13). The pattern of the drop can be variable: long, short, pointed or rounded.

Figure 1.13 Images of droplets and their evolution

Fig. 1.13 Water lines and evolution  

The shape of willow leaves can be combined into several different patterns, which gives a wonderful pictorial effect (Figure 1.14). The willow leaf pattern is often used to realistically depict branches and leaves of trees and various flowers, such as chrysanthemums, flowering peaches and snowdrops.

Figure 1.14 Texture and evolution of willow leaves

Fig. 1.14 Willow leaf veins and evolution

Conclusion

Papercutting in Jinzhou is a form of folk culture and art passed down from generation to generation, which not only captures and preserves the cultural subtext of people's habits and folk customs, but is also a reflection of social life and is deeply integrated into the life of the local population. Jianzhi expresses the thoughts and emotions of people and helps to restore the true face of history, reproducing in artistic form the local processes of historical development. Secondly, jianzhi art in Jinzhou preserves its own artistic characteristics, promotes the transmission of national culture and art, and promotes the development of an artistic style that would not reflect the general culture and art of China without grassroots folk art. Finally, as a simple folk art, papercutting in Jinzhou has its own aesthetic and educational style that penetrates the hearts of people and raises them to a higher spiritual level. In addition, jianzhi can represent the spiritual worldview of a certain era in the region. From the point of view of intangible cultural heritage, the art of papercutting in Jinzhou is the artistic embodiment of the material and spiritual culture of the people and has a certain practical significance for the development, innovation and transmission of the regional heritage of folk art.