Wang Zigan
Wang Zigan was a modern papercutting artist, master of arts and crafts, and famous Shanghai-style papercutter. His most important representative works are "The crowing of the cock", "Chicken eats centipede", etc. Some of his published works include "Selected papercutting works of Wang Zigan", "History of Shanghai papercutting" and "The creation of papercutting".
Early life
Wang was born to a poor peasant family in Jinsha Town, Nantong, Jiangsu Province. At the age of 13, he relocated to Shanghai with his uncle, where he embarked on a journey to master the art of papercutting under the guidance of a street artist named Wu Wanheng. Wang exhibited a remarkable aptitude for this craft and promptly established a street-side stand to vend his papercut creations in various areas of Shanghai, including the vicinity of the New Town God's Temple and Baixianqiao in the downtown district.Over the course of his career, Wang Zigan crafted a substantial number of papercut artworks and embroidery patterns, which were subsequently distributed across both urban and rural regions. Despite his prolific output, his family, comprising six members, endured persistent hardship marked by hunger and poverty. Wang's life as a papercut artist was characterized by economic challenges, and his artistic contributions remained largely devoid of official recognition. Nevertheless, he held a strong aspiration that this folk art form would endure and serve as a means of sustaining his legacy.
With the support of the Communist Party and the government following the year 1949, Wang embarked on a new chapter in his career by joining the Shanghai Arts and Crafts Studio, which is presently known as the Shanghai Arts and Crafts Institution. This transition allowed Wang to witness the stark contrast between his former way of life and the transformative developments of the contemporary era. He developed a profound affection for his craft and an appreciation for the profound changes taking place in China, recognizing the significance of his artistic work within this evolving landscape.
Childhood
Wang Zigan belonged to a generation marked by considerable hardships. His early life circumstances were such that his parents opted to send him away for adoption shortly after his birth. He was entrusted to his childless uncle, who, like Wang's biological parents, grappled with economic challenges. In an effort to improve their financial situation and provide for Wang's upbringing, his uncle decided to acquire the skill of haircutting. After mastering this trade, he borrowed funds and established a barber shop, hoping for a better future.When Wang Zigan reached the age of six, his uncle's proficiency in haircutting led to an invitation from the Jinsha State School. This invitation, extended on the basis of recommendations, entailed providing haircuts to the school's teachers and students. In return for his uncle's services, Wang Zigan gained admission to the school. This educational opportunity represented the sole formal education Wang Zigan received in his lifetime. Its significance lay in the profound impact it had on his subsequent life journey. This foundational education equipped him with essential literacy skills, which would prove invaluable in his pursuit of various other self-taught disciplines and ultimately in his artistic career.
In 1932, Wang Zigan, then a child of under 13 years of age, migrated to Shanghai in the company of his uncle. After a brief period, Wang secured employment in a watchmaker's establishment to perform various tasks. However, he ultimately departed from this position due to mistreatment.
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", situated at No. 147 Jinling Road 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.
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. 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.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, now known as the Shanghai Arts and Crafts Institution, 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 held in Beijing. During this congress, notable state leaders such as Zhu De 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. 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.
Cultural Revolution
During the Cultural Revolution, Wang Zigan became a target of the revolution. Large-character posters known as Dazibao 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", all traditional artistic works were stigmatized as "feudalistic, bourgeois, and revisionist".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.
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 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 held a commemorate exhibition of Wang Zigan's 50-year papercutting career at Shanghai Fine Arts Museum. 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, Wang Zigan appeared on a TV program and gave a papercut performance face to face with foreign and Chinese guests. Jiang Zemin, 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, then Shanghai mayor, came to see the Shanghai Delegation. When he saw the performance Wang Zigan had given, Zhu Rongji exclaimed: Wonderful cut !
In 1957, his papercuts "Plum blossoms, orchids, bamboo, and chrysanthemum" and "Beijing Tian'anmen and Indonesia Treasure Palace" were given to foreign leaders as national gifts.
Wang Zigan had won the title of a Shanghai Model worker for three consecutive years, was elected a member of Shanghai Municipal CPPCC, a member of the China Folk Literary and Arts Association, council of China Folk Literature and Arts Studies and council of Shanghai Folk Literature and Arts Studies, joined China Fine Artists Association, and was awarded the title of a senior master in arts and crafts in 1987. He was granted the title of a Super Master in Arts and Crafts 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 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. 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, 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 to Wang's children for plagiarizing his rooster papercut design.