纸扎，起源于古代民间宗教祀祭活动，以后逐渐成为庆祝节日的一种装饰艺术。明清时遍及城乡，每逢节日或喜庆之际，民间艺人则充分施展其技艺，扎制成高意诙谐的“老鼠攀葡萄灯”，喜得贵子的“麒麟灯”，望子健康的“鸭（压）子灯”，祝贺新婚的“鸳鸯灯”，祈求丰收的“金鱼灯”，以及名种花草、鸟兽等。这些色泽艳丽、造型拙朴、寓意明快的各类纸扎品，均取竹、木、线、纸为主要材料。以竹、木为骨架，以线团缚部位，糊彩纸以装饰。为喜庆欢快的活动频添几份色彩，同时也为哀丧、祀祭场面蒙上一层神秘的面纱。
Papermaking originated from ancient folk religious worship activities and gradually became a decorative art for celebrating festivals. During the Ming and Qing dynasties, it was widespread in both urban and rural areas. During festivals or celebrations, folk artists would fully display their skills and craft the high-meaning and humorous "Mouse Climbing Grape Lantern", the "Qilin Lantern" for celebrating the birth of a noble child, the "Duck (Pressing) Child Lantern" for wishing a healthy child, the "Mandarin Duck Lantern" for congratulating a newlywed, the "Goldfish Lantern" for praying for a bountiful harvest, as well as famous flowers, plants, birds, and animals. These various paper products with bright colours, simple shapes, and clear meanings are mainly made of bamboo, wood, thread, and paper. Using bamboo and wood as the skeleton, tying the parts with thread balls, and decorating with coloured paper. Adding a few colours to the festive and joyful activities, while also casting a mysterious veil over the mourning and sacrificial scenes.
Historical
Context
历史背景
闽南传统纸扎技艺由来已久，用于节庆、祭神、婚丧等民俗活动。集美前场社区陈氏的传统纸扎技艺传承四代，历130多年。据传承人陈赐勇介绍，清末时期，其曾祖父陈未，人称“糊纸未”，是当时厦门远近闻名的糊纸师傅。后来，祖父陈水加传承该技艺。陈水加的四个儿子中，只剩大儿子陈荣标（即陈赐勇、陈赐坚的父亲）接下了这项家传技艺。作为陈氏糊纸传统技艺的第四代传承人，陈赐勇从小跟随祖父和父亲学习糊纸，18岁开始独立完成作品，随后，弟弟陈赐坚也加入行列。
The traditional paper-making skills of southern Fujian have a long history and are used for folk activities such as festivals, sacrifices to gods, weddings and funerals. The traditional paper-making skills of the Chen family in the Jimei Qianchang community have been inherited for four generations and have lasted for more than 130 years. According to the inheritor Chen Ciyong, in the late Qing Dynasty, his great-grandfather Chen Wei, known as "paste", was a well-known pasting master in Xiamen at that time. Later, his grandfather, Chen Shuijia, passed on the skill. Among Chen Shuijia's four sons, only the eldest son, Chen Rongbiao (the father of Chen Ciyong and Chen Cijian), inherited this family skill. As the fourth-generation inheritor of Chen's traditional art of pasting, Chen learned from his grandfather and father from a young age and began to complete his works independently at the age of 18, and then joined the ranks by his younger brother Chen Chijian.
陈家四代以糊纸为生，除了文革期间，基本没有中断过。据陈赐勇的母亲翁碧英介绍，文革结束时，其丈夫陈荣标做的第一件事就是从自家的墙面挖出泥土来做糊纸面具的模具。灌口三社一年一度的民间信俗活动，都指定前场陈氏制作糊纸雕像，已经合作了三代人。
In the Baise Zhuang area, "Mo Ping" is as exquisite as the hydrangea and has been passed down for a long time, it was originally made by the local "Guanyin Hall" monks, and it was distributed to the public free of charge during the Dragon Boat Festival, wishing the wearer a safe and auspicious person.
纸扎是一种与民间社会生活关系密切的民俗艺术，在中国民间十分普及，主要用于祭祈、节庆和各种礼仪庆典活动。凤凰纸扎主要流行于湖南省凤凰地区，发展历史相当长远。清末民初，凤凰纸扎成为当地颇为兴盛的手工艺行当，一个县城即开设了十多家纸扎铺子。凤凰一年四季都有应时的纸扎制品，春节期间更是纸扎的旺季，狮头、龙头、蚌壳、彩船、虾、蟹、鱼、鳖、云朵、盆花、灯笼等千姿百态的纸扎制品不仅行销本地，还销往邻县他乡，在湘、鄂、川、黔边界具有很大的影响。凤凰纸扎用篾条扎骨，外面糊以皮纸并施以彩绘，显现出很高的艺术水准。“聂氏纸扎”博采众长，出类拔萃，所扎人物、动物、花草、虫鱼等形象皆生动逼真，活灵活现。凤凰纸扎具有丰富的民俗内涵，可以为民俗学及民间工艺学的研究提供鲜活例证，需要大力保护弘扬。
Paper is a kind of folk art closely related to the life of civil society, which is very popular among Chinese people, and is mainly used for sacrifices, festivals and various ceremonial celebrations. Phoenix paper is mainly popular in the Fenghuang area of Hunan Province and has a long history of development. At the end of the Qing Dynasty and the beginning of the Republic of China, Phoenix paper became a very prosperous local handicraft industry, and more than ten paper shops were opened in the county. Phoenix has paper products in time all year round, during the Spring Festival is the peak season for paper ties, lion heads, dragon heads, mussel shells, colour boats, shrimp, crabs, fish, turtles, clouds, potted flowers, lanterns and other paper products in a variety of shapes are not only marketed locally but also sold to neighbouring counties and other towns, in Hunan, Hubei, Sichuan, Guizhou border has a great influence. The phoenix paper is tied with strips and bones, and the outside is pasted with leather paper and painted, showing a high artistic standard. "Nie's Paper Tie" draws on the strengths of others, outstanding, and the images of people, animals, flowers, insects and fish are vivid and vivid. The phoenix paper tie has a rich folk connotation, which can provide a vivid example for the study of folklore and folk crafts, and needs to be vigorously protected and promoted.
纸扎，在中国民间有很多不同的称谓，如扎库、扎作、糊纸、扎纸、扎纸库、扎罩子、彩糊等。广义的纸扎包括彩门、灵棚、戏台、店铺门面装潢、匾额及扎作人物、纸马、戏文、舞具、风筝、灯彩等。狭义的纸扎指的是丧俗纸扎，主要指用于祭祀及丧俗活动中所扎制的纸人纸马、摇钱树、金山银山、牌坊、门楼、宅院、家禽等焚烧的纸品。
纸指纸冥器 。旧时迷信，以为人死后进入冥国 ，随葬器物供死者在间使用，于是有冥(明) 器 。冥器起初是生活日用品，自宋代起，纸冥器逐渐流行。人们用竹篾、芦苇、高粱秸扎成各种家具器皿人物，糊以色纸，饰以剪纸，为死者焚烧。颜色有单色的、衬色的、结合涂绘的，广东佛山的“铜衬料”、“铜写料”等，颇为富丽。
Paper refers to paper tools. In ancient times, superstitions believed that after death, people would enter the underworld and be buried with objects for the deceased to use, hence the existence of underworld (Ming) vessels. In the beginning, paper spirit vessels were daily necessities, and since the Song Dynasty, paper spirit vessels have gradually become popular. People use bamboo strips, reeds, and sorghum stalks to bind various furniture figures, paste them with coloured paper decorate them with Paper Cuttings, and burn them for the dead. The colours include monochrome, contrasting, and combined painting. The "copper lining material" and "copper writing material" in Foshan, Guangdong are quite rich.
How to make it
制作方法
传统纸扎技艺有很多种类别，我们以陈家糊纸为例。糊纸就是把纸糊在竹架上，其中包含很多细碎的工艺制作过程。糊纸用的纸张就有一百多种，蜡光纸、宣纸、报纸、花边纸等。七色纸也是从专业纸行上精挑细选而来，有的纸成本高。一个面具要连续粘贴十几层纸，一些比较复杂的雕像要用近百种纸。除了纸张，陈家对用于粘贴的糨糊也有严格要求，仍是沿用传统方式自制。“七色纸料纸做屋，八竹功夫功种植”十四个字道出了传统纸扎技艺的材料和用途。
There are many types of traditional paper-making techniques, and we take Chen's paper pasting as an example. Pasting paper is the process of pasting paper onto a bamboo frame, which involves many fine craftsmanship steps. There are over a hundred types of paper used for pasting paper, such as waxed paper, rice paper, newspaper, lace paper, etc. Seven-colour paper is also carefully selected from professional paper shops, some of which have high costs. A mask requires more than ten layers of paper to be continuously pasted, while some more complex statues require nearly a hundred types of paper. In addition to paper, the Chen family also has strict requirements for the paste used for pasting and still uses traditional methods to make it themselves. The fourteen words' Seven colour paper for making houses, eight bamboo kung fu for planting 'describe the materials and uses of traditional paper-making techniques.
陈氏对技艺传承严格，要先学会了解纸张特性，学折纸、剪纸、刻纸、画纸等基本功；再掌握破竹子、削竹片和扎竹子以及浆糊的技巧；接着才能模仿样品用竹条扎出基本框架，用底纸黏贴出基本造型，用有色纸黏上以分区域；最后贴上已剪好、画好的装饰条等，直至制作完成。
Chen is strict in the inheritance of skills. First, he should learn to understand the characteristics of paper, and learn basic skills such as origami, Paper Cuttings, paper cutting, and paper painting; Master the techniques of breaking bamboo, cutting bamboo pieces, tying bamboo, and pasting paste again; Next, we can imitate the sample by tying the basic framework with bamboo strips, sticking the basic shape with base paper, and sticking it with coloured paper to divide the areas; Finally, attach the pre-cut and painted decorative strips until the production is completed.
凤凰彩扎中的彩绘也是至关重要的一环。
第一步：勾轮廓。纸扎匠人会在裱糊好的纸扎作品上用墨线勾出外轮廓，比如狮子的嘴巴、鼻子的轮廓形象，为下一步的着色做准备，线条必须一气呵成并且粗细均匀，否则非常影响视觉效果。
第二步：着色。即在轮廓线里用纯植物与矿物质提取的颜色进行填色。色相方面主要是湘西民间喜爱的青色、红色、黄色为主，按由深至浅、由里到外的方法来着色，最终形空的程生助鲜艳的视觉效果。
第三步：贴金滚线。为了让一些纸扎作品显得更加璀璨夺目，纸扎艺人会在着色完成后用金箔纸对轮廓线进行强调，用剪成2毫米宽的金箔纸沿着轮廓线外围粘贴，从而起到调和色彩、区分墨色和彩色的作用。
The painting in the Phoenix Lottery is also a crucial part.
Step 1: Outline. Paper makers will use ink lines to outline the outer contours of pasted paper works, such as the contours of a lion's mouth and nose, in preparation for the next step of colouring. The lines must be seamless and evenly thick, otherwise it will greatly affect the visual effect.
Step 2: Coloring. Fill the contour line with colours extracted from pure plants and minerals. In terms of hue, the main colours favoured by the people of Xiangxi are cyan, red, and yellow, which are coloured in a dark-to-light and inside-to-outside manner, ultimately creating a vivid visual effect.
Step 3: Apply gold roller thread. In order to make some paper crafts appear more dazzling, paper artists will use gold foil to emphasize the contour lines after colouring, and use gold foil paper cut into 2mm width to stick along the periphery of the contour lines, thereby harmonizing colours and distinguishing ink and colour.
Legacy preservation
传承保护
纸凤凰扎具有浓厚的湘西地域特色，汇聚了浓郁的乡风民俗。它取材广泛、结构严谨、造型夸张、色彩鲜明，并与湘西土家族、苗族神话传说、民间故事紧密相关联，展现了湘西古老文明的历史进程，充分反映了湘西民间的审美情趣。对于研究湘西文化底蕴内涵，有着重要的作用。
Paper Phoenix Zha has a strong regional characteristic of Xiangxi, gathering rich local customs and traditions. It has a wide range of materials, rigorous structure, exaggerated shape, and vivid colours, and is closely related to the myths, legends, and folk stories of the Tujia and Miao ethnic groups in western Hunan. It showcases the historical process of ancient civilization in western Hunan and fully reflects the aesthetic taste of the people in western Hunan. It plays an important role in studying the cultural connotations of Xiangxi.
随着社会的发展，糊纸的需求越来越少。订单渐少，陈家传承四代的糊纸技艺面临失传的危机。纸扎无论是花灯还是祭奠用品最终都是被烧掉的但总有些什么是烈焰焚烧不了的。人会消失，但他们留下的美感和精神不会消失中国人心灵的家园，在历史的深处而历史在哪里灿烂的民族文化。
纸扎艺术是一种物质表现更是一种精神的寄托和文化的传承它连接着生者与逝者过去与现在、传统与现代承载着生者对逝者的深切思念心包含着对逝者的纪念和祝福。
With the development of society, the demand for paper pasting is decreasing. The orders are gradually decreasing, and the Chen family's four generations of paper-pasting skills are facing a crisis of extinction. Paper sticks, whether they are lanterns or sacrificial items, will eventually be burned, but there is always something that cannot be burned by flames. People will disappear, but the beauty and spirit they left behind will not disappear from the homeland of the Chinese soul, the splendid national culture in the depth of history.
Paper art is not only a material expression, but also a spiritual sustenance and cultural inheritance. It connects the past and present, tradition and modernity of the living and the deceased, carrying the deep longing of the living for the deceased, including commemoration and blessings for the deceased.
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