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期末论文

Tahu Paper Cuts(踏虎凿花)

Abstract

Tahu Paper Cuts, a distinctive intangible cultural heritage of the Miao ethnic group in Xiangxi, Hunan Province, represents an important component of China's traditional culture and has been officially listed in China’s intangible cultural heritage inventory. This art form carries profound historical, artistic, and cultural significance. This paper traces the historical origins and social foundations of Tahu Paper Cuts and, through comparisons with ordinary paper-cutting techniques, details its production process and distinctive tools. Furthermore, it analyzes the cultural symbolism embedded in the craft and its expression of the Miao people's spiritual pursuits and aesthetic traditions, while also examining the current state of preservation, existing challenges, and potential safeguarding pathways for this technique in contemporary society. Through an interdisciplinary analytical perspective, this study presents the dual value of Tahu Paper Cuts as both a handicraft tradition and a cultural form, and offers reflections on strategies for its sustainable preservation amid modernization.

Introduction

Tahu Paper Cuts is a folk paper-cutting art originating from Tahu Township, Luxi County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province. Although classified as a form of paper-cutting, it differs from the scissor-based techniques common in other regions. Instead, it primarily employs engraving with knives and chisels. In this way, multiple layers of paper are secured and meticulously carved with specialized tools on a wax-coated board, earning it the title of "scissor-free paper-cutting." Renowned both domestically and internationally for its distinct ethnic character, vivid artistic style, and exquisite craftsmanship, Tahu Paper Cuts stands out as a remarkable treasure within the realm of Xiangxi folk arts. With a long history, rich cultural significance, diverse themes, and varied forms, it embodies the collective wisdom of the Miao people across generations, vividly reflecting their spiritual pursuits and emotional expression.

History

Tahu Village in Luxi County is very remote and poor. The villagers here, ancestors and families have been engaged in chiseling flowers and have continued this process for generations. According to available data, 'Tahu Paper Cuts originated in the Wei, Jin and Northern and Southern Dynasties. In the past, because the "flowermen" walked around and crossed the villages, the various "patterns" of hawking would soon be embroidered into beautiful "decoration" on the Miao family's clothes by the Miao girls. It was not until the appearance of a "flower man" in Tahu village named Huang Kaotian that "stepping on tigers and chiseling flowers" gradually changed from "life" to "art". The late Huang Kaotian began to learn to "step on chisel flowers" at the age of 12 and was skilled. Since the 1980s, a series of his works have been frequently exhibited internationally, attracting the attention of the outside world. Since then, the traditional Miao folk handicraft unique to Luxi County has truly stepped out of the deep mountains and seedlings and is famous at home and abroad.

Comparison with Other Paper-cutting

Paper-cutting is one of the most widespread folk art forms in China. Broadly speaking, it refers to the practice of cutting, engraving, or hollowing out two-dimensional artistic designs on paper. In the minds of most people, paper-cutting primarily involves using red or other warm-colored paper to create decorations that convey positive emotions and foster a festive atmosphere in daily life and celebratory occasions. In reality, however, paper-cutting can be divided into two categories based on the tools and methods used: scissor-cutting and knife-engraving. Scissor-cutting mainly relies on scissors, with engraving as a supplementary technique. It typically involves folding the paper, cutting out symmetrical basic patterns with scissors, and then refining them to achieve the final design. This form is commonly used for window decorations or ornamental patterns during festive periods, such as the folk paper-cuts found in northern regions like Shaanxi, Shanxi, Hebei, and Shandong. Knife-engraving, on the other hand, emphasizes the use of knives or engraving tools, with scissors playing a secondary role. It is often employed for creating clothing patterns, decorative paper slips for celebrations, and similar items. Examples include the fine-pattern engraved paper of Yueqing in Zhejiang, the engraved paper art of Yixing and Nantong in Jiangsu, and the Tahu Paper Cuts of Xiangxi discussed in this text. In southern China, the technique of engraving or chiseling patterns on thin materials is not uncommon. For instance, the copper-chiseled gold foil art of Foshan involves hammering copper into paper-thin foil and then using carving and chiseling techniques to create openwork designs (Wu & Zhang, 2006, 118). Tahu Paper Cuts is a form of paper-cutting that completely departs from scissors, using chisels for engraving instead. As its inheritor Huang Kaotian once noted during his lifetime, his engraving skills were passed down mainly through hands-on teaching by older generations and by directly copying the works of predecessors or contemporaries. He also mentioned an important detail regarding the shift from scissors to knives in Tahu paper-cutting: “Our ancestors used scissors for cutting, but this method usually allowed only about four layers of paper to be cut at once. Later, inspired by the process of engraving ‘auspicious paper banners’ pasted on door lintels during the Spring Festival, we switched to ‘knife-engraving.’ Engraving not only allows for cutting seven to eight or even over ten layers at once, but it can also handle patterns of any complexity.”

Production Features and Procedures

The tools used in Tahu Paper Cuts are highly distinctive, including self-made engraving knives (such as slant-tip and round-tip blades), a wax board (a soft pad made from a mixture of beef tallow and plant ash), a hammer, and others. Dozens of layers of paper can be engraved at once, making the process highly efficient while ensuring consistent patterns. The motifs are mostly auspicious designs, such as flowers, birds, insects, fish, mythological tales, and ethnic totems (e.g., phoenixes and butterflies), all rich in folk symbolism. Due to the knife-engraving technique, the lines in Tahu Paper Cuts appear smoother and more delicate than those in scissor-cut paper art, blending boldness with refinement. It is worth noting that, as Tahu Paper Cuts served both Han and Miao women, decorative techniques expressing auspicious meanings through Chinese characters are frequently found in its patterns and styles. Composite motifs combining Chinese characters with classic Miao patterns like butterflies and floral designs have also been widely preserved. To some extent, the improvement and application of paper-cutting techniques in Tahu Paper Cuts reflect how folk artisans absorbed diverse cultural influences in their creative and practical work (Chen & Liu, 2014, 90). The common production steps of Tahu Paper Cuts are as follows: The first step is sketching, where the desired pattern is outlined in linear form. The second step is fixing the draft, where rice paper and the paper with the drawn pattern are neatly stacked together. The third step is engraving, performed with an engraving knife. The fourth and final step is mounting, where the finished engraved work is framed.

Cultural Value and Future Development

Tahu Paper Cuts preserves the aesthetic and spiritual beliefs of the Miao and Tujia ethnic groups, serving as a "living fossil" of their history. This art form is often used in festive celebrations, such as the Spring Festival and weddings, as well as in ritual ceremonies, highlighting the integration of daily life and artistic expression. Representative inheritors like Huang Kaotian have played a key role in passing down the craft and promoting its recognition across China. However, the transmission of this cultural heritage faces challenges from modernization and a pressing issue of aging inheritors. In response, local efforts have been made to ensure its vitality through initiatives such as introducing intangible cultural heritage into school curricula and integrating it with cultural tourism. In recent years, the craft has also been revitalized through collaborations with contemporary fashion design, resulting in accessories, decorative artworks, and other products featuring engraved patterns. Indeed, the power of culture proves far stronger than we often realize. While UNESCO, for instance, ascribes value to heritage sites via its World Heritage programme, national governments may imbue these values in particular cultural objects or traditions by linking them to an official history of the nation-state, or national memory. Similarly, local communities may independently or, as a consequence of value appropriation occurring at other scales, assign specific values to cultural sites and practices. Heritage values thus spread across scales, transforming along the way. Accordingly, we argue that as actors appropriate and imbue heritage with values for particular purposes, the act of value appropriation becomes an act of power in which the past is used to legitimise interests in the present. (Zhu, Maagas,2020) Tahu Paper Cuts has a long history, rich connotations, wide themes and diverse forms. It is the crystallization of the collective wisdom of the Miao people in past dynasties, fully reflecting the spiritual pursuit and ideological feelings of the Miao people for a better life. With the change of living customs, the art of Tahu Paper Cuts has been unprecedentedly impacted. Fewer and fewer people are willing to inherit Tahu Paper Cuts, and the art of Tahu Paper Cuts is in danger. Therefore, it is necessary to follow the development of the times and inherit the original form of composition with national characteristics. At the same time, it is also necessary to update the pattern format and theme characteristics to adapt to modern development.

References

[1]Zhu, Y., & Maags, C. (2020). Heritage politics in China: The power of the past. Routledge. [2]陈剑,刘育池.禾库剪纸与踏虎凿花的差异性分析[J].装饰,2014,(11):90-91. (Chen, Jian & Liu, Yuchi. (2014). A Comparative Analysis of Heku Paper-Cutting and Tahu Paper Cuts. Decoration, (11), 90–91.) [3]吴卫;张小华;.不用剪刀的剪纸——湘西踏虎黄靠天凿花[J].装饰,2006,(10):118-119. (Wu,Wei & Zhang, Xiaohua. (2006). Scissor-Free Paper-Cutting: Huang Kaotian’s Engraved Paper Art in Xiangxi Tahu. Decoration, (10), 118–119.) [4]中国非物质文化遗产网，2008，https://www.ihchina.cn/project_details/20144.html. (Chinese Intangible Cultural Heritage Website，2008，https://www.ihchina.cn/project_details/20144.html)

Terminology and Expressions

Tahu Paper Cuts 踏虎凿花 Scissor-cutting 剪纸 Knife-engraving 刻纸 Wei, Jin and Northern and Southern Dynasties 魏晋南北朝 Flowermen 花郎 Patterns 花样 Decoration 纹饰 Ethnic totems 民族图腾 UNESCO 联合国教科文组织

Questions

1.What does "Tahu" refer to in Tahu Paper Cuts?

2.Who is the most renowned inheritor of Tahu Paper Cuts?

3.What is the biggest difference between Tahu Paper Cuts and ordinary paper-cutting?

4.What are the primary tools used in Tahu Paper Cuts?

5.What are the key steps involved in the production of Tahu Paper Cuts?

Answers

1.Tahu refers to Tahu Village, located in Luxi County, Xiangxi Tujia and Miao Autonomous Prefecture, Hunan Province.

2.Huang Kaotian.

3.Tahu Paper Cuts primarily employs engraving with supplementary cutting, whereas ordinary paper-cutting relies mainly on cutting and only occasionally incorporates engraving.

4.Knives, wax boards, and chisels.

5.The four key steps are: first, sketching the design; second, securing the draft; third, engraving the pattern; and fourth, mounting the finished work.

期末论文

踏虎凿花

摘要

踏虎凿花作为湖南湘西苗族特有的非物质文化遗产，是中国传统文化的重要组成部分，已经列入了中国非物质文化遗产扩展项目名录。该艺术承载着深厚的历史、艺术与文化价值。本文梳理踏虎凿花的历史渊源与社会基础，并通过与其他普通剪纸进行对比，详细阐述其制作流程与工具特点。此外，本文还剖析其文化象征意义及其对苗族精神追求与审美传统的表达，探讨该技艺在当代社会中的存续状况、面临的挑战及保护路径。通过跨学科的分析视角，呈现踏虎凿花作为手工传统与凿花文化的双重价值，并对其在现代化进程中的可持续保护提出思考。

简介

踏虎凿花是流行于湖南省湘西土家族苗族自治州泸溪县踏虎村的一种民间剪纸艺术。虽然它叫剪纸艺术，但它与其他地区用剪刀剪纸不同，它是以刻刀凿刻为主，通过将多层纸固定，用特制刀具和凿子在蜡板上凿出精细的图案，堪称“不用剪刀的剪纸”。踏虎凿花以其独具的民族特色、鲜明的艺术个性、精湛的工艺技巧饮誉国内外，成为湘西民族民间工艺美术园地的一枝奇葩。它历史悠久，内涵丰富，题材广泛，形式多样，是历代苗族群众集体智慧的结晶，充分反映了苗族人民的精神追求和思想感情（中国非物质文化遗产网，2008）。

历史

泸溪县踏虎村非常偏远，十分贫困。这里的村民，祖祖辈辈、家家户户以凿花为业，将此工艺世代绵延。“根据可考资料显示，踏虎凿花’起源于魏晋南北朝时期。过去，因‘花郎’们走来走去、穿村过寨，叫卖的各色“花样”不久便会被苗家姑娘绣成苗家人衣物上的美丽“纹饰”。 直到一个叫黄靠天的踏虎村“花郎”出现，“踏虎凿花”才逐渐从“生活”走向“艺术”，已故的黄靠天，12岁起便开始学习“踏虎凿花”，技艺娴熟精湛。20世纪80年代起，他的一系列作品频频在国际上展出，引起外界关注，自此，“踏虎凿花”这项泸溪县特有的苗族民间传统手工艺，才真正走出深山苗寨，闻名海内外。

踏虎凿花与其他剪纸的比较

剪纸是我国民间最普及的一种艺术形式，从广义上讲，剪纸实际上就是指在纸上剪刻、镂空出所要表现的二维艺术形象。在大多数人的概念中，剪纸主要是指用红纸或其它暖色彩纸做成在世俗生活和喜庆节日中表达美好情感、营造热闹氛围的装饰品。而实际上，若以制作工具和对象来分，又有剪纸和刻纸两种类别。其中剪纸以剪为主，以刻为辅，通过将纸张折叠后用剪刀剪出基础对称的图形后再进一步进行修剪获得想要的最终效果。剪纸主要用于喜庆节日的窗花或其他装饰花样，如陕西、山西、河北、山东等北方地区的民间剪纸。而刻纸则以刻为主，以剪为辅，主要用于服饰的花样和喜笺等。如南方的浙江乐清细纹刻纸，江苏宜兴、南通刻纸和文中的湘西踏虎凿花等等。在南方，这种以刻刀在薄片材料上凿花的工艺手法并不罕见，如佛山的铜凿金花工艺，就是先将铜片打制成薄如纸片的铜箔，再在铜箔上用刻、凿等技法加工成镂空的凿花（吴&张，2006，118）。踏虎凿花就是脱离了剪刀，用凿子进行镌刻的一种剪纸技术，而正如其传承人黄靠天生前曾说，他的凿花技艺主要是通过祖辈手把手教和直接摹写前人或同辈的作品承继下来的。而且，他还提到了一个重要的细节，讲述了踏虎剪纸从剪刀到刻刀的转变过程：“祖辈是用剪刀剪的，但这种办法一般一次只能剪到四层。后来，在凿供春节贴于门楣上的‘喜钱’的工序中得到了启发，才改为‘刻纸’。刻纸不但一次可刻到七八层、十几层，而且不管如何复杂的纹样都能对付得了。

制作的特点和步骤

踏虎凿花使用的工具非常独特，可以使用自制刻刀（如斜口刀、圆口刀）、蜡板（混合牛油、草木灰的软垫）、锤子等。一次可凿刻数十层纸，效率高且图案一致。其图案多为吉祥纹样，如花鸟虫鱼、神话传说、民族图腾（如凤凰、蝴蝶)，充满民俗寓意。因为刀凿技法，踏虎凿花成品的线条比剪纸更流畅、细腻，兼具粗犷与精巧。值得注意的是, 由于踏虎凿花的服务对象兼有汉苗两地妇女, 因此在相关图案和表现风格上, 以汉字诉说吉祥追求的装饰手法比比皆是, 汉字与蝴蝶、花草等苗族经典图案融于一体的组合纹样也大量流传。从某种程度上可以说, 踏虎凿花对剪纸技艺的改进和运用, 彰显了民间艺人在从事技艺的创作和运用时对不同文化营养的吸收（陈 & 刘，2014，90）。踏虎凿花常见的制作步骤为：第一步是画稿，把大家想要的图案用“线”的形式画出来。第二步是固定稿样，把宣纸与画好图案的纸整齐叠放在一起。第三步是凿刻，用刻刀进行凿刻。第四步也是最后一步为装裱，把凿刻好的成品装裱起来。

文化价值和未来发展

踏虎凿花保留了苗族、土家族的审美和信仰，是民族历史的“活化石”。该文化艺术常用于节庆（如春节、婚嫁）、祭祀活动，突显了生活与艺术的结合。代表性传承人如黄靠天通过技艺传承推动其走向全国。虽然文化传承面临现代化冲击，传承人老龄化问题严峻。但当地通过非遗进校园、文旅融合等方式进行活态保护，近年来与时尚设计结合，推出凿花元素饰品、装饰画等，让踏虎凿花技术焕发新生。文化的力量远比我们想象得更为强大。例如，联合国教科文组织通过世界遗产计划对遗产地进行价值认定，而国家政府则可能通过将特定文化实物或传统与国家官方历史或民族记忆相联结，为其注入符合国家叙事的价值。同样，地方社区也可能自主地——或受其他层面价值挪用的影响——为文化场所与实践赋予特定价值。由此可见，遗产价值的传递跨越不同尺度，并在流动中不断转化 (Zhu & Maagas, 2020)。踏虎凿花历史悠久，内涵丰富，题材广泛，形式多样，是历代苗族群众集体智慧的结晶，充分反映了苗族人民对美好生活的精神追求和思想感情。随着生活习俗的变迁，凿花艺术受到前所未有的冲击，越来越少的人愿意凿花，凿花艺术处于危险境地。因此踏虎凿花自身需要跟随时代发展洪流，传承原有的具有民族特色的构图形式，同时也要更新纹样格式与题材特征，适应现代化发展。

参考文献

[5]Zhu, Y., & Maags, C. (2020). Heritage politics in China: The power of the past. Routledge. [6]陈剑,刘育池.禾库剪纸与踏虎凿花的差异性分析[J].装饰,2014,(11):90-91. [7]吴卫;张小华;.不用剪刀的剪纸——湘西踏虎黄靠天凿花[J].装饰,2006,(10):118-119. [8]中国非物质文化遗产网，2008，https://www.ihchina.cn/project_details/20144.html

术语

踏虎凿花 Tahu Paper Cuts 剪纸 Scissor-cutting 刻纸 Knife-engraving 魏晋南北朝 Wei, Jin and Northern and Southern Dynasties 花郎 Flowermen 花样 Patterns 纹饰 Decoration 民族图腾 Ethnic totems 联合国教科文组织 UNESCO

问题

1.踏虎凿花中的踏虎是什么？

2.踏虎凿花最著名的传承人是谁？

3.踏虎凿花和普通剪纸最大的区别是什么？

4.踏虎凿花用到的主要工具是什么？

5.踏虎凿花踏虎凿花的制作步骤有哪些？

答案

1.踏虎是指湖南省湘西土家族苗族自治州泸溪县的踏虎村。

2.黄靠天。

3.踏虎凿花以刻为主，以剪为辅，而普通剪纸则是以剪为主，以刻为辅。

4.刀具、蜡板和凿子。

5.一为画稿，二为固定稿样，三为凿刻，四为装裱。