Teochew paper-cutting is a form of Teochew traditional folk art. Its images of flowers, fruits, birds and animals, people, landscapes and Chinese written character outlines exhibit deep Teochew cultural characteristics. Ng Ziou-iang 黃朝陽, an inheritor of the Teochew paper-cutting art from Teo’an 潮安 (Chao’an), China, was invited to this year’s annual Mid-Autumn Festival celebration organised by the Teo Ann Huay Kuan 潮安會館 in Singapore. He demonstrated his exquisite paper-cutting expertise and wowed the audience with his "speed cutting" and "blind cutting" skills. Ng Ziou-iang also held a paper-cutting experience class at the Teo Ann Huay Kuan, where he warmly shared the history, culture and techniques of Teochew paper-cutting with the attendees. How did Ng Ziou-iang begin his involvement with Teochew paper-cutting? What are the unique features of Teochew paper-cutting compared to the art from other areas of China? The Teochew Store recently contacted Ng Ziou-iang, and he told us the story behind his love for Teochew paper-cutting.
Mr. Ng Ziou-iang presenting The Teochew Store with his creation for our 10th anniversary
The Teochew Store (TTS): You are an inheritor of the Teochew paper-cutting art? How did you get into paper-cutting?
Ng Ziou-iang (Ng): I inherited my paper-cutting skills from my family. I remember when I was young, my relatives in my hometown would come to my house whenever there was a big occasion to ask my Ah-ma (grandma) for auspicious paper-cuttings, such as the double-happiness character 囍 or pomegranate flowers, to be placed with the prayer offerings. I have four sisters and I am the only son in the family. Because of this, I was “wrapped in cotton wool". To keep me, the sole family heir, away from accidents, my parents made me stay at home and my Ah-ma took care of me. I became interested in paper-cutting at the age of five. Ah-ma was very happy and started teaching me paper-cutting to keep me occupied. My interest in paper-cutting has now lasted for 50 years.
Over time, cutting the standard images no longer satisfied me. I started creating my own paper-cutting designs during Middle School. I have kept my scissors for over thirty years, carrying them with me at all times except while taking the plane. In this way, no matter where I go, the moment an inspiration comes to me, I can materialise it. One day later, I realised my eyesight was getting blurry. I got worried about not being able to continue with paper-cutting the day my eyesight fails. So I explored "blind cutting" and trained myself to cut while blindfolded or with my eyes closed. I relish challenging myself. For me, every complex Chinese character or pattern is an opportunity to hone my skills.
Ng Ziou-iang performing "blind-cutting" at the Singapore Teo Ann Huay Kuan
TTS: What are the unique features of Teochew paper-cutting compared to the art from other areas in China?
Ng: The art of Chinese paper-cutting is divided into seven schools. Teochew paper-cutting belongs to the southern branch, which is mainly based on "yang cutting", where the peripherals are snipped off and what is left of the paper is the pattern we wish to create. Paper-cutting in northern China is based on "yin cutting", where what is left of the paper is the background and the pattern is hollow from the parts snipped off.
The characteristic of Teochew paper-cutting is the thick and thin lines are clearly differentiated. It also expresses our own unique customs. For example, paper-cuttings of the word “hock” 福 (“fu” in Mandarin, meaning fortune) are used for auspicious occasions in many places. However, in Teochew, “hock” paper-cuttings are mainly used at funerals. They are pasted on the coffin to signify that the deceased had lived a blessed life. For this reason, the word "fu" is seldom featured in Teochew paper-cutting. We use more patterns such as bat (Teochew literary reading: piang-hog 蝙蝠), pomegranate flower (known in vernacular Teochew as ang hue 紅花, or red flower), myrtle (ou-do-ni 烏多尼), and Buddha's hand citron (hiang-ng 香黄) to symbolise fortune. In addition, Teochew people are fond of the number five. We like to feature in our paper-cuttings the "five blessings" (ngou-hog 五福) and "five elements" (ngou-heng 五行, i.e. fire, water, wood, metal and earth).
Teochew paper-cutting started with decorative artwork used in sacrificial offerings. Different offerings require different paper-cuttings called gong-bing-hue 貢品花 (“offering flowers”), such as ga-gue-hue 酵餜花 (“fermented rice cake flower”) and diam-gue-hue 甜餜花 (“sweet rice cake flower”). There needs to be a hollow at the centre for inserting the pomegranate flower. Pomegranate flowers have the benefit of clearing heatiness and detoxifying, and Teochew people use them in offerings to represent warding evil spirits and bringing good luck.
Paper-cutting.displaying impressions of Teochew png kueh (red peach kueh), bats (symbolising blessing 福) and traditional Teochew house gable designs according to the five elements (gold, wood, water, fire and earth).（Original work of Ng Ziou-iang）
TTS: What challenges have you faced in promoting Teochew paper-cutting? How did you overcome them?
Ng: There definitely have been challenges. First of all, my friends and family were puzzled by my obsession with paper-cutting, an "old handicraft". In their view, paper-cutting is not a path to wealth. I have also met many people who have doubted my skills. They questioned if my paper-cuttings were not hand-cut but machine-printed. These negative voices do not bother me. This is because I have realised much of our traditional culture is embedded in Teochew paper-cutting. My works give me a great sense of achievement, and so I insist on cutting. Through my paper-cutting skills, I have been graded a “senior practitioner” (高級工程師, a recognition given in China to highly skilled practitioners of traditional culture), been designated as a representative inheritor of Teochew paper-cutting, and made many like-minded friends.
In the past, paper-cutting skills were passed down only within the family. However, I discovered that not everyone in my family is interested in paper-cutting art. None of my four sisters showed interest in paper-cutting, and only I inherited it. Of my two children, only one son has shown interest. If this continues, one day there will be no heir to this skill from our forebears. I decided to open classes and bring the art of paper-cutting to campuses and communities. Many times, I even paid out of my own pocket to visit schools and nursing homes to teach Teochew paper-cutting for free. I have also been learning the lingo of the youths and topics popular with them, which I then brought into my paper-cutting works to generate learning interest. Slowly, my efforts began paying off, and more people are coming to my studio to learn paper-cutting. An increasing number of schools have invited me to demonstrate paper-cutting and give classes. I even have the chance to bring paper-cutting out of China and share it with fellow Teochews overseas.
TTS: How did you get acquainted with the Teo Ann Huay Kuan, and get to come to Singapore to share your paper-cutting expertise? In which other countries have you promoted Teochew paper-cutting?
Ng: To celebrate the 60th anniversary of the Singapore Teo Ann Huay Kuan, the association organised a roots-finding trip for a thousand members to China. I was invited by the Teo’an local government to set up a booth at the celebration site to showcase Teochew paper-cutting. My booth attracted many young people from the association. Although we live in different countries, we share the same roots in Teo’an. I cut out on paper the Chinese names of the young visitors to the booth as souvenirs. The Teo Ann Huay Kuan staff subsequently saw on my social media account that I regularly hold classes to teach paper-cutting. Hence, they invited me to Singapore to demonstrate the techniques and impart lessons. This is my third trip abroad to share about paper-cutting. I had been to Sarawak and Johor Bahru in Malaysia to share.
Ng Ziou-iang teaching at the Singapore Teo Ann Huay Kuan
TTS: In recent years, more and more young people overseas are participating in the preservation and promotion of Teochew culture. The Mid-Autumn Festival celebration and Teochew paper-cutting workshop organised by the Teo Ann Huay Kuan is an example. What are your views about the enthusiasm of overseas Teochews towards their hometown culture?
Ng: From what I have observed, Teochew people living overseas have more zeal for their hometown culture than the locals living in Teochew. Each time I go abroad, I visit communities where there are Teochews and find that some cultures and traditions are better preserved than ours (in China). Perhaps this is because the Teochews at home are accustomed to the culture, food, and folk customs. In contrast, the Teochews in diaspora have a stronger sense of identity, and can better appreciate the uniqueness and preciousness of our culture and history. Thus, they are eager to bring things from Teochew to the countries outside.
TTS: What advice can you give to young people who wish to pick up Teochew people cutting?
Ng: I do not approve of beginners learning by cutting printed templates. This is merely porting pictures between papers. Mastering the basic techniques of paper folding and cutting is the key to getting started. Once you have a solid foundation, you can try to innovate. If you only cut the old traditional patterns, your work can at best find its way to museums, but you will not be able to pass on the art to other places and to the next generation. Besides, paper-cutting is a craft that requires patience. Without patience, you cannot produce your work. If you wish to learn paper-cutting, you may follow my WeChat public account or Douyin account. I am happy to share with everyone the art of Teochew paper-cutting, which has been passed down by our forebears.
Watch Ng Ziou-iang demonstrate cutting Double-happiness “囍”, “Sweet Rice Cake Flower” (diam-gue-hue) & “Fermented Rice Cake Flower” (Ga-gue-hue).
Brief biography of Ng Ziou-iang:
Ng Ziou-iang 黃朝陽, courtesy name Zeng-hong 鐘鋒, is from Teo-ann, Guangdong province. He is a member of the Chinese Folk Literature and Art Association, China national-level Intangible Cultural Heritage Teochew paper-cutting representative inheritor, senior practitioner, and Outstanding Coach of the 3rd National Youth Art and Calligraphy Competition. His paper-cutting works were featured in the 2024 CCTV Spring Festival Gala and won first prize in the China National WeSee Cyber-security competition for two consecutive years in 2022 and 2023.
Ng Ziou-iang’s paper-cutting works are well-loved and collected by overseas Teochew individuals and organisations. They have been exhibited in many places in China and some have been acquired by departments are the national, provincial and municipal levels. Ng Ziou-iang has been featured on CCTV-1 and China Media Group (CMG) special interviews and news column reports, as well as media in various foreign regions and countries.
The Teochew Store sincerely thanks Teo Ann Huay Kuan for facilitating our interview with Mr. Ng Ziou-iang.
Scan to follow Ng Ziou-iang on Douyin and WeChat：
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