Willis_M_Hawley_-_Chinese_Folk_Designs.pdf

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CHINESE
FOLK
DESIGNS
W.M.Hawley
A
Collection
of
300
Cut-Paper
Designs
W.
M.
HAWLEY
CHINESE
FOLK
DESIGNS
A
COLLECTION
OF
300
CUT-PAPER
DESIGNS
USED
FOR
EMBROIDERY
Together
with
160
CHINESE
ART
SYMBOLS
and
their
meanings
DOVER
PUBLICATIONS,
INC.
NEW
YORK
liu
+
**
and
International
1t
>
Copyright
All
rights
©
1949
by
\V.
M.
Hawley.
reserved
under
Pan
American
Copyrighi
Conventions.
Published
in
Canada
by
General
Publishing
Company,
Ltd.,
30
Lesmill
Road,
Don
Mills,
Toronto,
Ontario.
Published
in
the
United
Kingdom
by
Constable
and
Company,
Ltd..
10
Orange
Street,
London
first
WC
2.
This
Dover
edition,
of
the
published
in
1971,
is
an
unabridged
republication
work
originally
published
by
the
author
in
1949.
dover
'TtciorialoArchtve
series
Chinese
Folk
Designs
belongs
to
the
Dover
Pictorial
Archive
Series.
Up
to
ten
illustrations
from
this
book
may
be
reproduced
on
any
one
project
or
in
any
single
publication,
free
and
without
special
permission.
Wherever
possible
include
a credit
line
indicating
the
title
of
this
book,
author
and
publisher.
Please
address
the
publisher
for
permission
to
make
more
extensive
use
of
illustrations
in
this
book
than
that
authorized
above.
The
republication
of
this
book
in
whole
is
prohibited.
International
Standard
Book
Number:
0-486-22633-6
Library
of
Congress
Catalog
Card
Number:
77-179790
Manufactured
in
the
United
States
of
America
Dover
Publications.
Inc.
180
Varick
Street
New
York,
N.
Y.
10014
A
WORD
ABOUT
THE
HUA
YANG
1E&
it
PATTERNS
This
book
achieves
the
impossible
in
that
untouched
and
long
ignored
aspect
of
Oriental
presents
an
entirely
art:
paper
cutting.
Since
the
Mongol
Dynasty,
scholars
and
scientists
of
every
race
and
persuasion
-
lay
and
religious
-
have
returned
from
China
with
examples
of
that
nation's
skills;
few
have
so
much
as
made
reference
to
the
subject
covered
in
this
book.
The
Chinese
themselves
totally
neglected
to
include
this
art,
in
this
utilitarian
phase,
in
their
exhaustive
art
literature,
perhaps
because
and
because
primarily
it
of
its
obvious
peasant
origin
intermediate
step
in
the
production
of
what
they
consider
handicraft:
their
rich
embroideries.
is
only
an
a
superior
Chinese
embroidery
patterns
fall
into
two
categories
those
which
are
sketched,
a
device
used
on
larger
projects,
and
the
huayang
which
are
used
for
small
articles
of
everyday
use:
women's
and
child-
ren's
footwear,
children's
caps
and
dresses,
aprons
...
It
is
the
hua
yang
with
which
we
are
herein
concerned.
designs
are
cut
freehand
with
scissors,
as
we
cut
silhouettes,
but
perhaps
a
stack
of
several
at
one
time.
Most
are
so
intricate
as
to
preclude
more
than
a
very
few
being
produced
at
one
cutting.
However,
coarser
designs
are
turned
out
in
some
volume
by
the
use
of
chisels
and
small
knives.
Plate
2.48
shows
this
method.
The
hua
yang
paper
designs
originated,
the
first
were
adapted
to
the
del-
date
of
their
icate
needs
of
the
embroiderer.
Evidence
exists
that
they
have
been
in
common
use
for
many
centuries.
Prototypes,
still
found
in
every
Chinese
province
and
village,
are
the
red
and
gilt
paper
charms
and
household
gods of
festive
and
ritual
use,
particularity
in
evidence
dur-
the
New
Year
celebrations.
Hua
yang
from
Honan
{i^j
-
2.56)
show
the
connecting
link,
being
adaptable
to
both
purposes:
pasting
on
silk
to
embroider
over,
or
on
walls
as
charms.
Reproductions
are
full
size.
It
is
not
known
where
these
cut
beginning,
or
when
they
This
exceptionally
fine
collection
was
gathered
by
Wang
Li-an
and
Huang
Chung
over
a
period
of
years,
from
the
following
Southern
Kiangsu
plates
1-151,
Chekiang
152.
-
106,
and
Eastern
provinces
Kiangsi
2.07-246,
Honan
2.47-2.56,
Kweichou
2.57-2.60,
Anhwei
2.61
-
300.
It
is
hoped
that
this
presentation
will
furnish
fields
new
inspiration
to
students
in
many
of
artistic
endeavor.
W.
M.
Hawley
September
1949.

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