Wang Zigan () (April 18, 1920 - February 16, 2000)Wang, Zigan (2004), pp. 11, 33. was a modern papercutting artist, master of arts and crafts, and famous Shanghai-style papercutter.《中国当代剪纸家》，刘继成主编，1993，p. 8. His most important representative works are "The crowing of the cock" (Chinese: 一唱雄鸡天下白), "Chicken eats centipede" (Chinese: 鸡吃蜈蚣), etc. Some of his published works include "Selected papercutting works of Wang Zigan" (Chinese: 王子淦剪纸选), "History of Shanghai papercutting" (Chinese: 上海剪纸今夕) and "The creation of papercutting" (Chinese: 剪纸艺术的创新).《剪纸艺术》,鲍家虎著,第93页
Early life Wang was born to a poor peasant family in Jinsha Town (Chinese: 金沙镇), Nantong, Jiangsu Province.“神剪”仙逝——回忆父亲的剪纸生涯, 王建中, 上海工艺美术, Shanghai Arts & Crafts, 2000年02期 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 (Chinese: 武万恒). 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 (Chinese: 新城隍庙) and Baixianqiao (Chinese: 八仙桥) 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 (Chinese: 工艺美术研究室), which is presently known as the Shanghai Arts and Crafts Institution (上海工艺美术研究所). 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 (金沙镇国立小学). 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,《古代剪纸与艺术创作》,曹宇,曹宁编著,第275页 migrated to Shanghai in the company of his uncle.《手工艺创意产业》，许思豪编著，2009，p47, 48, 49 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.Wang, Zigan (2004), pp. 12, 14.
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 capacity for rapid learning. He utilized his available time to acquire the requisite papercutting skills.Wang, Zigan (2004), p. 14, 16.
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 developed his skills through a process of presenting his papercut works to his master for feedback. In this way, he developed a proficiency and knowledge in papercutting techniques.
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" (Chinese: 恒昌祥), situated at No. 147 Jinling Road (Chinese: 金陵中路147号) 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 (Chinese: 潘妙新). 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.Wang, Zigan (2004), pp. 16, 18.
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 (Chinese: 华东地区工艺美术作品观摩会).