Folk artists have passed down this unique art form from generation to generation as one of the most popular folk art in our district. According to archaeological research, its origins can be traced back to the Northern Wei Dynasty, and academic viewpoints are ancient stone ages. They believed that at that time, mankind had discovered and used the artistic techniques of image recording and successively created engravings on various materials. The language of art through the air. This kind of perfect ancient art technique is reflected in primitive society rock paintings, painted pottery, and Hongshan culture jade carvings. Today's folk paper-cuts are extremely consistent with their modeling style and external features. This fully demonstrates the relationship between their inheritance and continuation.

Folk artists pass this unique art form from generation to generation, making the art of paper-cutting a folk art that is close to life and rooted in the public. The art of paper-cutting and peeling in our district is extremely rich. It has been produced, developed and lasted for thousands of years in the production and life of farmers and herdsmen. It is an important part of the northern nomadic peoples and the Mongolian culture. Taking Helinger's folk paper-cutting as an example, his paintings are more numerous, with ancient rock paintings and the inheritance of the bronze hollowed out art concept of the Xiongnu. From this we can see the close relationship between the paper-cut style of an area and the history, economic basis, customs, religious beliefs and ancient totemism of ethnic culture.

Wang Hongchuan, a scholar of non-material cultural heritage and folk art research and a teacher at the Academy of Fine Arts at Baotou Normal University in Inner Mongolia University of Technology, said that the formation of folk paper-cut culture in Baotou has profound historical development background. Baotou is a place where the northern grassland nomadic culture, Hongshan culture, and Yangshao culture meet at the same time. Many ancient cultural factors are inherited in the constant blending and replacement of nomadic civilization and farming civilization. In the tomb of Baotou, various animal-shaped stickers have been unearthed in gold foil. This is a historical testimony of the art of paper-cutting and hollowing.

The rich paper-cut relics are facing the dilemma of dying. "And Lin Geer and Baotou's paper-cut art have been listed in the national intangible cultural heritage list. In addition, our district Chifeng, Tongliao, Ordos, Alashan, Ulan In Chab, Hulunbuir and other places, there are still extremely rich paper-cut relics, but they are facing a dilemma of dying, and the situation is worrying. Among them, Ewenki, Daur, and Oroqen and other ethnic groups also have their own unique “non-paper-cutting” and they use birch trees. Leather, animal hides and other flat materials cut into unique patterns, widely used in the decoration of clothing, utensils and homes.There are many patterns in flowers, animal images as the title, passed down for centuries or even thousands of years, with a deep The historical and cultural connotations of the northern ethnic groups are currently being prepared or already carried out by the relevant local authorities in the rescue and protection of the original ecological paper-cut arts, with remarkable results, said Duan Jianyu, president of the Inner Mongolia Paper-cutting Society, told reporters.

In history, the inheritance of the art of paper-cutting in our district was mainly inherited and developed from generation to generation in the form of "mother-accepting women, long and young." The heritage of traditional paper-cuts is to adapt to the changes of the festival and folk customs, and the functions are rich and colorful. Now the inheritance of paper-cutting presents a trend of simplification. With the disappearance of many folk customs, paper-cutting has lost its true practical function. Now it is only posted on festivals such as the Spring Festival. Paper-cut windows, ornaments, etc. At the same time, the unique historical and cultural information and expression techniques contained in paper-cutting have gradually been forgotten. The current status of the development of the original ecological paper-cut art in our district is not optimistic. The past, the Mug paper window is gone, the embroidery pattern is not used, the peeling has disappeared...

At present, the inheritance of the original ecology paper-cut art in our district is basically in a state of inaccessibility. The development of the original ecology paper-cut art is a concern for paper-cutting artists all over the country. Duan Jianluo said: “The art of paper-cutting must be based on inherited traditions and innovation. At present, the art of paper-cutting is undergoing a period of transitional transition. The original ecology of paper-cut art in our region is facing difficulties in development. Older generations of people have passed away and younger generations are eager to accept it. To cultivate and form a stable chain of inheritance, modern paper-cut art can only ensure that the art of paper-cut works has sufficient strength by maintaining the characteristics of national culture.The uniqueness and nationality of art are the most important.In recent years, the paper-cutting artists in our area are profound Based on traditional culture, many paper-cut arts with rich life style and ethnic style have been created."

Rescue, Protection, Inheritance, and Development of Paper-cutting Art Since the establishment of Inner Mongolia Paper-cutting Society in 1992, a large number of paper-cut art activities have been carried out. Among them, paper-cutting courses were introduced in the colleges and universities of our district and in the classrooms of primary and secondary schools. Significant results have been achieved. Among these schools are Inner Mongolia Normal University, Inner Mongolia University Art College, Hohhot Mongolian School, Chifeng College, and Lingle County Vocational Middle School. Paper-cutting teaching and results have had a wide range of influence throughout the country.

In recent years, the Inner Mongolia Paper-cutting Society has focused on rescuing, protecting, inheriting, and developing the original ecological paper-cut art with rich national and regional characteristics in our area. It has gone deep into the private sector and learned from folk paper-cut artists. It has carried out activities to rescue the dying paper-cut remains in the region. , Discovered a large number of precious original ecological paper-cut and old generation inheritors. In 2001, the district’s first paper-cutting and paper-learning section of the district was established in Heilinger County. In the past 11 years, this paper-cutting and training institute has trained nearly 1,000 folks in the art of paper-cutting. They include students, farmers, workers, and teachers. Wait. In recent years, after the unremitting efforts of the Inner Mongolia Paper-cutting Society, emerged as represented by Duan Jianyi, Wang Hongchuan, Liu Jinglan, Rong Fengmin, Sa Ren, Ma Shuzhen, Zhang Yuna, Liu Yutang, Zhao Fu, Su Yile, Zhao Zhisheng and Men Xiaoyong. There are a large number of outstanding paper-cutting artists who have deep traditional foundations and distinct personalities. Their paper-cut works have unique cultural connotations and have won numerous prizes in national and international paper-cut competitions. After more than 6 years of compilation, "China's Folk Paper-cutting Integration and Ringlinger Volume" was published this year. This book is the first paper-cut special integration in the minority areas of China. Since 2006, the Lingle Paper Cutting Society has collected more than 23,000 pieces of paper-cutting materials, produced more than 45,000 pieces of folk-custom photos related to paper-cutting culture, recorded 17 CD-ROMs, wrote more than 320,000 characters, and for the first time had 186 characters. The paper-cut inheritors write personal biography and paper-cut stories.

The paper-cut works with ethnic customs and local characteristics go out of the country With the development of the market economy, the paper-cutting industry in our area has also gradually taken the path of industrialized development and has obtained many useful experiences. Take Linger's paper-cut earlier as an example, and Lingle’s paper-cutting has gradually formed a healthy development path from the rescue, protection and innovation of original ecological paper-cut works to the development of paper-cut products.

And Lingle paper cutting is a famous paper-cut cultural brand in the country. There are more than 1,300 items and more than 100 varieties of paper-cut products are deeply loved by consumers. Through concentrated sorting, reasonable disposition, and excellent packaging, many of them have rich ethnic customs. Paper-cut works with local characteristics go out of the country, are exported to the United States, Japan, France, Germany, Italy, Denmark, Sweden and other countries and regions, and become an important carrier for dissemination of national culture. At the same time, the Lingle Paper-cut Society has ensured that rural members and old paper-cut artists achieved certain benefits through paper-cutting through the development of their industries. At the same time, they have certain economic support in paper-cut rescue, protection, inheritance and development activities.

Duan Jianchao said: “The paper-cutting industry in our area is now in a decentralized and spontaneous approach to individual operations. There is a serious shortage of reserve funds, which restricts the development of the paper-cutting industry. The development of paper-cutting industry should take a long-term perspective and adhere to the protection of the original ecological paper-cutting. With regard to inheritance, on the basis of maintaining the artistic and cultural value of the original ecology and paper-cutting, the road to industrialization may be more robust.” (Reporter Yang Huijun and Liu Zhixian)

And Lingle paper-cutting and Lingle paper-cutting have been popular for thousands of years. In 1998, Helinge County established the first county-level paper-cutting organization of the autonomous region—and the Lingle Paper-cutting Society, which became a milestone in the development of the paper-cut cultural undertaking. Over the years, the Society has rescued more than 70,000 precious paper-cuts, and has emerged a large number of talented paper-cutting inheritors and classic paper-cut works in China and abroad represented by Zhang Huanu, Duan Jianyi and Kang Zhier. .

From the art form to the cultural connotation, Lingle’s paper-cuts deeply reflect the notion of totemism, reproductive worship and life worship that are unique to the grassland cultural patterns in northern China, and have become an important part of the northern grassland culture with important folklore studies. The multidisciplinary humanities values ​​of history, arts, archaeology, and aesthetics have been hailed by the academic community as “living fossils of the history and culture of farming and grassland totems” and are one of the most representative paper-cut remains in northern China.

Baotou Paper-cutting and Baotou Folk paper-cut arts are mostly women from villages and pastoral areas. They have never been in touch with paintings. They simply rely on their rich life experiences and beautiful imaginations. They directly reflect boldly on what they feel and place their trust in life. Pray.

The first paper-cut book was the carrier of witchcraft. In the process of long-term communication, Baotou's paper-cut works formed several types of characters, animals, flowers, birds, insects, and auspicious patterns. Among them, the bottle-in-flower arrangement, the animal's lying platform, the lion's drums, the monkey's fishing, the baby-riding chicken, the handle-handling doll, the Chinese zodiac, the cloud-tip, and the auspicious continuous pattern have become classical patterns, which have been passed down until now.

Recently, Liu Jinglan, the representative inheritor of the Baotou Paper-cut Project of the National Intangible Cultural Heritage List, was awarded the Inheritance Prize of the Intangible Cultural Heritage of China. The pay-for-paid award mainly honors the representative inheritors of all levels of intangible cultural heritage that have made outstanding contributions to the intangible cultural heritage inheritance of China.