Ван Зиган

На этом названии фамилия - Ван . китайском

Ван Зиган
Рожденный	18 апреля 1920 года
Умер	16 февраля 2000 г. (2000-02-16) (в возрасте 79 лет)
Известен для	Скрепка

Ван Зиган ( китайский : Ван Зиган ) (18 апреля 1920 г. - 16 февраля 2000 г.) Был современным художником из сочинений , мастером искусства и ремесла, а также знаменитыми фиксаторами в стиле Шанхая . Его наиболее важными представителями являются «венчение члена» (китайский: «курица ест многоночную» (китайский: «курица ест многочисленную) и т. Д. Некоторые из его изданных работ включают« выбранные скрепки Wang Zigan »(китайский: китайский: китайский: китайский: китайский: китайский: китайский: Бумага Ван Зигана), «История Шанхайской бумаги» (китайский: Shanghai Paper Cutting Tonight) и «Создание бумаги» (китайцы: инновации в искусстве, вырезании бумаги).

Ранний период жизни

Ван родился в бедной крестьянской семье в городе Джинша (китайский город: город Джинша), Нантонг , провинция Цзянсу. В возрасте 13 лет он переехал в Шанхай со своим дядей, где он отправился в путешествие, чтобы овладеть искусством сочинений под руководством уличного художника по имени У Ванхенг (китайский: 武万恒). Ван продемонстрировал замечательную способность для этого ремесла и быстро установил уличную стенд, чтобы подать в свои творения скрепки в различных районах Шанхая, включая окрестности Божьего храма нового города (китайский: 新城隍庙) и Байксианцяо (китайский: 八仙桥) в центре города.

В течение своей карьеры Ван Зиган создал значительное количество художественных работ и моделей вышивки, которые впоследствии были распределены как по городским, так и в сельских регионах. Несмотря на его плодовитый результат, его семья, входящая шесть членов, пережила постоянные трудности, отмеченные голодом и бедностью. Жизнь Ван как художника из пинчина была охарактеризована экономическими проблемами, и его художественный вклад оставался в значительной степени лишенным официального признания. Тем не менее, он придерживался сильного стремления к тому, что эта форма народного искусства выдержит и служит средством поддержания его наследия.

При поддержке Коммунистической партии и правительства после 1949 года Ван начал новую главу в своей карьере, присоединившись к Шанхайской студии искусств и ремесе Ремесленные учреждения (上海工艺美术研究所). Этот переход позволил Вану засвидетельствовать резкий контраст между его прежним образом жизни и преобразующими событиями современной эры. Он развил глубокую привязанность к своему ремеслу и признательность за глубокие изменения, происходящие в Китае, признавая значение его художественной работы в этом развивающемся ландшафте.

Детство

Ван Зиган принадлежал к поколению, отмеченному значительными трудностями. Его ранние жизненные обстоятельства были такими, что его родители решили отправить его на усыновление вскоре после его рождения. Ему поручили его бездетный дядя, который, как и биологические родители Вана, столкнулся с экономическими проблемами. Стремясь улучшить свое финансовое положение и обеспечить воспитание Ван, его дядя решил приобрести мастерство при стр. Овладев этой торговле, он одолжил средства и создал парикмахерскую, надеясь на лучшее будущее.

Когда Ван Зиган достиг возраста шести лет, мастерство его дяди по стрижке привело к приглашению из государственной школы Джинша (金沙镇国立小学). Это приглашение, расширенное на основе рекомендаций, повлекло за собой при стрижек для учителей и учеников школы. В обмен на службы своего дяди Ван Зиган поступил в школу. Эта образовательная возможность представляла собой единственное формальное образование, которое получил Ван Зиган за всю свою жизнь. Его значение оказало в глубоком воздействии, которое он оказал на его последующее жизненное путешествие. Это основополагающее образование дало ему основные навыки грамотности, которые оказались бы неоценимыми в его стремлении к различным другим дисциплинам-самоучке и в конечном итоге в его художественной карьере.

В 1932 году Ван Зиган, тогдашний ребенок младше 13 лет, мигрировал в Шанхай в компании его дяди. После короткого периода Ван обеспечил работу в учреждении часовщика для выполнения различных задач. Однако в конечном итоге он ушел с этой должности из -за плохого обращения.

Subsequently, Wang's uncle made efforts to find alternative employment opportunities for him. During this period, a papercutting stall, owned by an individual named Wu Wanheng, emerged as a viable option. Wu Wanheng, a prominent figure within the papercutting community at the age of 26, was actively seeking an apprentice. Wang Zigan was fortunate enough to be selected as the apprentice in question. This marked the auspicious commencement of his extensive 60-year career as a papercutting artist.

Apprentice life

Wu Wanheng specialized primarily in the creation of papercuts featuring folk embroidery patterns. In the context of their apprenticeship arrangement, Wang Zigan assumed a multifaceted role. He was responsible for domestic duties, which included early morning tasks such as lighting the stove, preparing breakfast, and washing vegetables and rice for lunch. Subsequently, he would assist his master at the papercutting stand. As evening approached, Wang Zigan would again undertake household chores, often extending into late hours.

It was customary during that era for masters not to dedicate extensive time to instructing their apprentices, yet Wang Zigan exhibited a remarkable capacity for rapid learning. He diligently utilized his available time to acquire the requisite papercutting skills.

The method employed to acquire these skills primarily involved the replication of papercut samples crafted by Wang Zigan's master. Remarkably, Wang Zigan diligently fulfilled his domestic responsibilities without delay, a practice that pleased his master and allowed him the freedom to pursue his training.

During this period, Wang Zigan displayed a rigorous commitment to skill development. He regularly presented his papercut works to his master for evaluation and guidance, a practice to which his master occasionally offered constructive feedback. With the valuable assistance of his master and his own unwavering dedication, Wang Zigan gradually attained proficiency in the fundamental techniques and knowledge of papercutting. As his skills advanced, he cultivated a profound passion for the art of papercutting.

In Shanghai, there existed a community of approximately 100 papercut artists, among whom individuals like Wu Wanheng were prominent. Many of these artists resided in close proximity to Baxianqiao. In circumstances where inclement weather rendered it impractical to set up stands outdoors, they would convene at a local tea house to engage in papercutting endeavors.

Wang Zigan frequently accompanied his master to these gatherings, where he had the opportunity to observe the work and techniques of various artisans. These occasions served as valuable platforms for Wang Zigan to expand his artistic horizons and acquire new skills from his peers. Wang Zigan's exceptional memory enabled him to retain and incorporate the novel patterns and superior techniques he encountered during these interactions.

Wang Zigan successfully concluded his apprenticeship three years following its initiation. During this period, his master had expanded his enterprise and established a shop specializing in the sale of papercut patterns known as "Heng Chang Xiang" (Chinese: 恒昌祥), situated at No. 147 Jinling Road (Chinese: 金陵中路147号) in Shanghai.

Customarily, apprentices would part ways with their masters upon completing their apprenticeship. However, in Wang Zigan's case, his master harbored reservations about releasing him for two primary reasons. Firstly, the business was experiencing growth, and there was a need for additional manpower. Secondly, Wang Zigan demonstrated continuous improvement in his papercutting skills. Moreover, his proactiveness in creating new patterns tailored to market demands garnered the favor of customers, significantly enhancing the success of "Heng Chang Xiang" and distinguishing it from other establishments in the industry.

As a result, Wang Zigan's master made considerable efforts to retain him. Wang Zigan, for his part, found himself in a predicament, as he was without familial support in Shanghai, with his uncle and aunt having relocated to Congmin Island. Furthermore, he lacked the financial means to establish his own business. Given these circumstances, Wang Zigan acquiesced to his master's insistence and chose to remain in his service. This arrangement persisted for a decade, during which Wang Zigan resided with his master, sharing meals and accommodations. The income he generated, though modest, provided a means to stave off cold and hunger, making it a practical decision to stay.

During this particular era, Wang Zigan, much like countless others in Shanghai, confronted the various challenges brought about by the Anti-Japanese War. Despite the turbulent political climate and the hardships he encountered over the span of ten years, Wang Zigan made notable advancements in the realm of papercutting through unwavering dedication. During this period, his skill surpassed that of his master, prompting an increased reliance on him by his master. Many patrons specifically requested papercuts created by Wang Zigan when they visited "Hong Chang Xiang."

In reality, Wang Zigan's papercutting prowess evolved into a primary economic driver for "Hong Chang Xiang." As a consequence, he became well known as one of the preeminent folk artists in the papercutting tradition within Shanghai.

Marriage

Around 1943, Wang Zigan married Pan Miaoxin (Chinese: 潘妙新). Pan Miaoxin, being the sole daughter in her family, found herself in the circumstance of leasing the backroom of "Heng Chang Xiang." Her family had relocated from Changshu, Jiangsu Province to Shanghai due to the upheavals caused by the Anti-Japanese War. Pan Miaoxin, a person of good lineage, possessed a composed disposition and striking beauty. She had received a well-rounded education under her parents' guidance, which spanned several years.

In line with the prevailing trends of the era in Shanghai, Pan Miaoxin held a deep passion for embroidery. Thus, when she first encountered the exquisite papercut creations crafted by Wang Zigan—something entirely novel to her—she became captivated by his artistry. Enthralled by Wang Zigan's techniques, she became a frequent visitor to the papercut shop, observing his work diligently and occasionally assisting him during busy periods. Over time, a romantic connection blossomed between the two young individuals. However, Pan Miaoxin's mother vehemently opposed their union. She held the desire for her daughter to marry a wealthy man, envisioning a life of leisure for herself supported by her daughter's marriage—a sentiment not uncommon during that era. Despite this opposition, Wang Zigan and Pan Miaoxin got married secretly, without her mother's consent.

Following the resolution of their marital challenges, Wang Zigan contemplated embarking on an independent business endeavor. The income he derived from his master's establishment proved inadequate to support not only himself but also his wife and the future children they anticipated.

Initially met with resistance from his master, Wang Zigan eventually secured approval for his business aspirations. This agreement, however, came with specific economic terms concerning compensation for his master. By 1945, with the conclusion of the Anti-Japanese War, Wang Zigan had achieved personal liberation and gained autonomy from his master's oversight.

In pursuit of his entrepreneurial aspirations, Wang Zigan leased a vendor stand adjacent to the New Town God's Temple, now situated near the intersection of Lianyun Road and Jinling Road. Here, he marketed his own papercut creations. His prior customers from "Heng Chang Xiang" began to patronize him due to his sterling reputation and adept interpersonal skills, enabling Wang Zigan to enjoy a comfortable life with his family.

However, in the aftermath of the Anti-Japanese War, the market experienced a downturn owing to the outbreak of the civil war. Consequently, Wang Zigan confronted the necessity of arduous work to generate modest profits. To supplement their income, his wife engaged in embroidery work for other households, lending vital support to their family's economic stability.

People's Republic of China

Following the establishment of the People's Republic of China, there was a prevailing atmosphere of optimism and a heightened focus on the development of folk arts. Consequently, the art of papercutting by Wang Zigan garnered the attention of relevant cultural authorities. In 1953, the Bureau of Culture of the Shanghai Municipal Government recommended the inclusion of select works by Wang Zigan in the East China Arts and Crafts Exhibition (Chinese: 华东地区工艺美术作品观摩会).

Subsequently, the government embarked on a concerted effort to identify artists with exceptional talents and sought to organize them effectively. This initiative led to the establishment of the Shanghai Arts and Crafts Studio (Chinese: 工艺美术研究室), now known as the Shanghai Arts and Crafts Institution (Chinese: 上海工艺美术研究所), in 1956. This institution engaged twelve accomplished artists from various backgrounds, each possessing extensive artistic careers and a high level of professional expertise, to undertake specialized research projects. Notably, Wang Zigan, then 37 years old, was the youngest member among them.

The commencement of a new phase in Wang Zigan's life infused fresh inspiration into his artistic endeavors. What were once mere commodities transformed into pieces of art under his skillful hands. Wang Zigan dedicated himself to the preservation and reinterpretation of the historical tradition of papercutting, particularly the aspects that endured in Southern China. Concurrently, his mastery of the craft continued to progress significantly.

In 1957, Wang Zigan attained the distinction of being elected as a representative at the First National Senior Artists Congress (Chinese: 首届全国老艺人代表大会) held in Beijing. During this congress, notable state leaders such as Zhu De(Chinese: 朱德) delivered speeches and took the opportunity to engage with representatives from across the nation.

In 1960, the inaugural collection of Wang Zigan's papercuts was published by the Light Industry Publishing House (Chinese: 轻工业出版社). This period also witnessed the establishment of a professional titles system within the arts and crafts community. Recognizing his outstanding contributions, Wang Zigan was conferred the title of Arts and Crafts Master (Chinese: 工艺师).

Cultural Revolution

During the "Four Cleanups Movement" (Chinese: 四清运动), which swept across the nation with the rallying cry of "Never forget class struggles," individuals were categorized into specific social classes. Wang Zigan initially believed he belonged to the working class, but he found himself mistakenly categorized as part of the exploiting class due to the perception that he had played a role as an exploiter in the old society.

It wasn't until the conclusion of the Cultural Revolution that Wang Zigan's classification was reviewed by the organization, prompted by his repeated petitions for reevaluation.

During the Cultural Revolution, Wang Zigan became a target of the revolution. Large-character posters known as Dazibao(Chinese: 大字报) and mass criticism and repudiation campaigns labeled senior artists within his work unit as "bourgeois academic authorities." As part of the broader effort to eradicate the "four Olds" (Chinese: 破四旧), all traditional artistic works were stigmatized as "feudalistic, bourgeois, and revisionist" (Chinese: 封资修).

The Arts and Crafts Studio, like similar institutions nationwide, became embroiled in the tumultuous upheaval of the revolution. In the chaotic winter of 1966, Wang Zigan, in a bid to establish revolutionary connections, relocated to Nanjing with his second son. There, he undertook menial tasks in a canteen and worked as a pedicab driver.

Shortly after the conclusion of the Cultural Revolution, Wang Zigan returned to his artistic pursuits with renewed enthusiasm. He had long excelled in papercutting characterized by features from South China and had diligently sought to perfect this style. Furthermore, he had evolved his papercuts beyond mere adaptations of embroidery patterns, transforming them into unique decorative forms.

However, Wang Zigan remained unsatisfied with his work, perceiving a deficiency in the grandeur of his creations, which he deemed too simplistic in style and lacking in ornate decoration and intricate lines. To address this, he delved into materials and imagery from the Han and Tang Dynasties, studied Northern Chinese papercutting traditions, and drew inspiration from diverse artistic realms, including Peking operas, woodcut paintings (Chinese: 版画), Chinese brush paintings, and Chinese calligraphy. Additionally, he sought guidance from seasoned artists. As a result of these efforts, Wang Zigan's papercuts underwent a significant stylistic transformation.

Later life and achievements

On 1 July 1983, the leaders of Shanghai Arts and Crafts Institution (previously known as Shanghai Arts and Crafts Studio) held a commemorate exhibition of Wang Zigan's 50-year papercutting career at Shanghai Fine Arts Museum (Chinese: 上海美术展览馆). Many celebrities of the art circle came to the show and jointly applauded his works.

Wang Zigan had been to Japan twice in the 1980s and once to Hong Kong to give lectures. In the meantime, he published a series of papercut collections. On the opening ceremony of the First Shanghai International Art Festival (Chinese: 第一届 上海国际电视艺术节), Wang Zigan appeared on a TV program and gave a papercut performance face to face with foreign and Chinese guests. Jiang Zemin (Chinese: 江泽民), then Shanghai mayor, sat beside him after the performance and chatted with him for half an hour about the past and present of papercutting. He praised his excellent skills and even mentioned the papercut artists in his hometown Yangzhou.

In September 1990 when the 11th Asiad was held in Beijing, Wang Zigan was a member of the Shanghai Delegation in the Shopping Centre of Beijing Asiad, and Zhu Rongji (Chinese: 朱镕基), then Shanghai mayor, came to see the Shanghai Delegation. When he saw the performance Wang Zigan had given, Zhu Rongji exclaimed: Wonderful cut (Chinese: 神剪)!

The Arts and Crafts Institution had received millions of foreign guests following the open policy, and Wang Zigan won applause each time he gave a papercut performance. James Callaghan, former prime minister of the UK, and Yang Zhengning (Chinese: 杨振宁), a Nobel Prize winner, wrote letters after they returned home, speaking highly of his superior skills.

In 1957, his papercuts "Plum blossoms, orchids, bamboo, and chrysanthemum" (Chinese: 梅兰竹菊) and "Beijing Tian'anmen and Indonesia Treasure Palace"(Chinese: 北京天安门和印尼藏物宫) were given to foreign leaders as national gifts.

Wang Zigan had won the title of a Shanghai Model worker (Chinese: 劳动模范) for three consecutive years, was elected a member of Shanghai Municipal CPPCC (Chinese: 上海市政协), a member of the China Folk Literary and Arts Association (Chinese: 中国文学艺术家联合会民间研究会), council of China Folk Literature and Arts Studies (Chinese: 中国民间文艺研究会) and council of Shanghai Folk Literature and Arts Studies (Chinese: 上海市民间文艺研究会), joined China Fine Artists Association (Chinese: 中国美术家协会), and was awarded the title of a senior master in arts and crafts (Chinese: 高级工艺美术师) in 1987. He was granted the title of a Super Master in Arts and Crafts (Chinese: 工艺美术特级大师) and the honor medal, and was engaged by the Shanghai Municipal Government to do research in the Research Institute of Culture and History.

In November 1993, Wang Zigan had a stroke due to infarction arteriosclerosis and was confined to bed for seven years. He died on 16 February 2000.

Features and style of Wang's papercuts

He inherited the folk papercutting tradition of the south of Yangtze River, and added his own innovation to his work on the basis of the original one. He expanded the subjects of papercut to a wider range, breaking through the limitation of the traditional papercut, which mostly featured on embroidery patterns. Traditional patterns, ranging from flowers, birds, fish and insects to mountains, rivers and fruits, and to people and beasts, as well as to fashionable ones that city people love are all used in the subjects of his works. He also made full use of waste material, cutting animals and plants out of modern waste paper. Such waste paper is of hard quality and the texture patterns which are produced during the process of printing, finely used by him, greatly enriched the papercut. Pursuit of learning while not being restricted to the tradition and the spirit of innovation made his papercut stand out. Containing not only simple and profound cultural foundation, but also fresh and lively modern elements, his papercuts reached the true realm of art.

His papercut idea is well designed and the characters are lively, being well expressed by him. The animals in his papercut have a kind of "spirituality": the naughty monkeys, the clever frogs, vigorous phoenix. His works combine with the delicacy of the South-style papercut and the outgoingness of the Northern-style papercut perfectly.

His papercutting has a strong rhythm and he was good at displaying the features of his papercut: symmetry, repetition and the interdependence of yin and yang. He was also good at displaying the animals' feathers and scales by repeatedly using his scissor and showing the actions and movements of animals by some spin patterns. This not only made cutting easier but also added more content to his works.

He had skilled papercutting skills, which contributed to his childhood experience of street performance. He used a large pair of scissors to perform in public, which are different from the papercutters from the South who carved patterns with knives. According to gjart, such performance provided people with great vision enjoyment.

Development and transmission

Wang Jianzhong

Wang Jianzhong (Chinese: 王建中) is the son of Wang Zigan, a senior engineer at Tongji University. He is one of the most greatest papercut artists in Shanghai. In only one minute, Wang can cut out any one of the 12 animals used in the Chinese counting cycle for the lunar calendar. He didn't take up the folk art until the age of 38, while his father Wang Zigan had started at the age of 13.

Wang initially took a completely different path than that of his father. After labouring in the countryside for several years after graduating from high school, he went to Tongji University, majoring in mechanical engineering. He has been teaching at Tongji University ever since he graduated, and he is now a senior engineer at the school. In 1993, Wang's father suffered a stroke and was confined to his bed. His health degenerated quickly after that. As the only son of the noted folk artist whose works have been collected by foreign dignitaries, Wang Jianzhong then shouldered the responsibility of carrying on his father's art, which is a precious part of China's cultural heritage.

Wang believes that he should not go public with his skills until he has mastered at least 90 per cent of his father's techniques. He also believes that artists should inject audacious innovation into their folk art. Being a scholar, Wang reads extensively. This has led him to sources of innovation. He has been developing the qiaose papercut technique (literally translated as clever cutting with coloured paper). For example, he used a photo depicting a red flower in a black vase to create a red rooster heralding the break of the day on a black hill. The idea is widely acclaimed by the young, who think it is really funny and requires both excellent skills and brilliant creativity.

His works of papercut won a Silver Award in Chinese Papercut Art Exhibition (Chinese: 华夏风韵剪纸艺术展), and a Gold Award in The First Chinese Folk Auspicious Art Exhibition in Nanjing.

In 2010 Wang's son brought Shanghai Zhending Chicken Development Industry Co to court for using his father's artwork on its registered trademark without approval. The local Chinese fast food restaurant was ordered to pay 80,000 yuan (US$12,640) to Wang's children for plagiarizing his rooster papercut design.

Zhao Ziping

Zhao Ziping (китайский: Zhao Ziping), a papercutter who lived in Zhabei district, Shanghai, was an apprentice to Wang Zigan. His works of papercutting are of wide subjects. The style of Zhao Ziping papercuts is distinctive with neat and exaggerate shapes. The lines of his papercuts are also natural and smooth. Zhao Ziping is good at creating two delicate, yin and yang works at the same time, which just use varieties of colours and grans of patterns. Meanwhile. He also tried to blaze a new trail of papercuts both in techniques and subjects. During productive time in his career, Zhao Ziping created tremendous papercuts with subjects of Chinese Ancient Fables, the Chinese horoscope and Dunhuang Murals etc.

Источники

• Ван, Зиган (2004). Искусство скрепки ISBN  978-7-5322-3781-4 .
• «Шеншес» История Ван Зигана, Ван Цзяньчжонг, Шанхайский архив 2003. Н.3, Шанхайский архив

Внешние ссылки

• Передатчики в шанхайском стиле скрепки
• Нематериальное культурное наследие-фолк.
• Шанхайский музей искусств и ремесел
• Каковы причины недостатков традиционных ремесленных талантов?
• «Художественная креативная индустрия», под редакцией Xu Sihao, 2009, P47, 48, 49
• «Сборник народных искусств Эпизод 3», Шанхайский отдел китайской ассоциации исследований народного искусства, Ван Зиган, стр. 254
• «Семейные умные работы (II)», написанная Ван Зиганом Пей Джинчан, Ван Даджун и Чэнь Чанбиао и т. Д., Стр. 26
• Вырез Ван Зигана, вырезанная бумага, работа Ван Зигана, Шанхайский народный художественный издательство 1985