Paper cut-outs

History of paper cuts in Poland

Ahead of important holidays such as Easter or Christmas, houses in the rural areas of eastern and central Poland were decorated with paper cut-outs. Glued directly onto walls and ceiling beams with flour glue, the motifs were made with great dedication and brought the special meaning of the holidays into the simple living spaces.

The filigree, sometimes multi-coloured papercuts have been made by women with sheep shears for generations. The use of this simple tool stands in striking contrast to the patterns, which are made with the highest level of craftsmanship.

The papercuts were not only used for decorative purposes, their use was sometimes said to have a magical function. The motifs of the papercuts include a number of symbols that are known in all cultures of the world.

I. Flowers and animals
II Scenes of everyday peasant life
III Colourful Leluja, symbolising the tree of life
IV A woman – a motif for Mother Earth
V. A star – an important symbol not only at Christmas time, it is often used in all the regions of Poland presented here.
VI A rooster – one of the most popular motifs in folk art – symbolises fertility, creativity and rebirth. A creature that unites night and day in twilight and heralds the dawn of day – a symbol of vigilance and wisdom.
The history of papercuts has not yet been fully researched.

In the middle of the 19th century, white paper curtains with perforated patterns appeared in the windows of houses. The fact that paper was sold merely by Jewish merchants at this time allows speculation that the idea of papercuts originated in Jewish culture, where this type of decoration had already been a tradition for several centuries. The advent of coloured paper helped the papercuts to become increasingly decorative shapes and motifs.

At the end of the 19th century and in the first half of the 20th century, European artists such as Paul Gauguin, Pablo Picasso and Constantin Brancusi embraced the exoticism and universal beauty of traditional folk art. Henri Matisse saw the papercut as the highest form of art due to its combination of pure form and pure colour. Henri Matisse himself „painted“ with scissors for many years.

At the turn of the century, folk art was „discovered“ by art collectors and art connoisseurs in the cities of divided Poland. It was in folk art that artists and designers sought the source of Polish national identity. The esteem in which papercutting was honoured by these artists was not without impact. Exhibitions and competitions were organised for the first time.

Nach dem zweiten Weltkrieg wurde die Volkskunst und damit auch die Kunst des Scherenschnitts zum Werkzeug der kommunistischen Propaganda. In der Zeit des sozialistischen Realismus galt sie als „politisch legitim.“ Die neue Regierung unterstrich ihre Beziehung zum Land und gründete dafür im Jahr 1949 ein eigenes staatliches Unternehmen. Die ‘Cepelia’ beschäftigte Volkskünstler und verkaufte deren Waren.

Bis zum Jahr 1980 erreichte ‘Cepelia’ eine fast vollständige Monopolstellung über die Produktion und den Verkauf. Von den Künstlern wurde die Erfüllung einer vorgegebenen Norm und die Einhaltung einer auferlegten Ästhetik erwartet. Diese beinhaltete beispielsweise die Herstellung einer gewissen Anzahl von Scherenschnitten nach einem einheitlichen Muster. Dieser planwirtschaftliche Eingriff in den Kunstmarkt hat einerseits dafür gesorgt, dass bestimmte Formen des Kunsthandwerks bis heute erhalten bleiben. Andererseits verschwand durch planwirtschaftliche Ausbeutung die Individualität und Authentizität der Volkskunst und damit auch der Scherenschnitte. Die ehemals einzigartigen Kunstwerke degradierten zum Massenprodukt und fanden sich in den 1960er bis 1970er Jahren als Dekorationsobjekt in nahezu jeder Wohnung. Die breite Verfügbarkeit führte zum Überdruss. „Cepelia“ wurde im Laufe der Jahre zum Synonym für Kitsch.

Nach 1989 versuchten die ehemaligen Volkskünstler ihr Glück auf dem freien Markt. However, in the age of young Polish capitalism, people preferred to look westwards. In recent years, young Polish architects and designers have increasingly turned to local folk art. They are reviving almost forgotten traditional craft materials and techniques – including paper-cutting. Artists who work with traditional crafts are becoming increasingly well-known. The works are often used to furnish modern flats and are regarded as unique works of art. Today, the art of paper cutting is still the domain of women. Each artist develops her own individual style, which must not be copied by others. The way in which the artists approach this subject is individual. With new shapes and colours, both artists have had an innovative influence on the contemporary art of paper cutting. Today, silhouettes are mainly produced in central and north-eastern Europe.

In spite of the growing interest in traditional art in Poland and worldwide, the paper cut remains an art in danger of being lost. It is an art which requires years of experience and learning from a young age, a significant amount of time and concentration. It is difficult to financially secure a livelihood for oneself and one’s family, and there are not many governmental programmes to continuously support the artists who represent Poland’s living heritage.

In the middle of the 19th century, white paper curtains with perforated patterns appeared in the windows of houses. The fact that paper was sold merely by Jewish merchants at this time allows speculation that the idea of papercuts originated in Jewish culture, where this type of decoration had already been a tradition for several centuries. The advent of coloured paper helped the papercuts to become increasingly decorative shapes and motifs.

At the end of the 19th century and in the first half of the 20th century, European artists such as Paul Gauguin, Pablo Picasso and Constantin Brancusi embraced the exoticism and universal beauty of traditional folk art. Henri Matisse saw the papercut as the highest form of art due to its combination of pure form and pure colour. Henri Matisse himself „painted“ with scissors for many years.

At the turn of the century, folk art was „discovered“ by art collectors and art connoisseurs in the cities of divided Poland. It was in folk art that artists and designers sought the source of Polish national identity. The esteem in which papercutting was honoured by these artists was not without impact. Exhibitions and competitions were organised for the first time.