苗族(zu)(zu)(zu)剪(jian)紙(zhi)俗稱“花(hua)紙(zhi)”、“剪(jian)花(hua)”、“繡(xiu)花(hua)紙(zhi)”，苗語稱“西給(gei)港”、“西給(gei)榜”，意為“動物(wu)剪(jian)紙(zhi)”和(he)“花(hua)卉剪(jian)紙(zhi)”。劍(jian)河苗族(zu)(zu)(zu)剪(jian)紙(zhi)不同于漢民族(zu)(zu)(zu)和(he)北方少數民族(zu)(zu)(zu)的(de)(de)窗花(hua)剪(jian)紙(zhi)，其(qi)主(zhu)要(yao)用(yong)途是(shi)作為苗族(zu)(zu)(zu)服飾刺繡(xiu)紋(wen)樣稿(gao)。類型可(ke)分為革東和(he)新(xin)民、新(xin)合兩種(zhong)，手(shou)法主(zhu)要(yao)采用(yong)剪(jian)、刻(ke)、扎(zha)等方式。題材范圍涉(she)及苗族(zu)(zu)(zu)神話傳說(shuo)和(he)自然界(jie)中花(hua)、鳥、蟲、魚、動物(wu)形象等，內容反映了苗族(zu)(zu)(zu)對遠古圖騰(teng)和(he)自然的(de)(de)崇拜，蘊涵著大量神秘的(de)(de)宗教文化(hua)信(xin)息(xi)和(he)原始的(de)(de)藝術(shu)特征。

一.苗族剪紙歷史起源

苗族(zu)是(shi)中(zhong)國西南(nan)(nan)人(ren)口較多(duo)(duo)、分布地域(yu)寬廣的(de)少數民族(zu)之一。主要聚居于貴州和(he)與(yu)之毗連的(de)湘(xiang)西、滇東、川(chuan)南(nan)(nan)、渝(yu)南(nan)(nan)、鄂西南(nan)(nan)、桂北等七省（市(shi)、自治區），有(you)三(san)萬(wan)多(duo)(duo)人(ren)分布在海(hai)南(nan)(nan)中(zhong)南(nan)(nan)部。苗族(zu)多(duo)(duo)是(shi)生(sheng)活在地理(li)條件(jian)較差的(de)大(da)山區，長期處(chu)于封閉的(de)環境(jing)，社會發展緩慢，保持著許多(duo)(duo)獨(du)特的(de)生(sheng)活習(xi)俗和(he)文化傳承。苗族(zu)一些(xie)支(zhi)系(xi)在刺繡中(zhong)使用的(de)剪紙花(hua)樣，在藝術(shu)上與(yu)刺繡有(you)異曲同工之妙(miao)，只是(shi)由于它不是(shi)獨(du)立的(de)展示(shi)，外界人(ren)知(zhi)之不多(duo)(duo)。

苗族(zu)婦女們在(zai)刺(ci)繡(xiu)中(zhong)(zhong)(zhong)使(shi)(shi)用剪(jian)(jian)(jian)紙，歷史悠久，在(zai)黔東南一帶(dai)苗族(zu)中(zhong)(zhong)(zhong)世(shi)代(dai)傳唱的(de)(de)《苗族(zu)古歌·跋山(shan)涉水》一節中(zhong)(zhong)(zhong)就有剪(jian)(jian)(jian)紙的(de)(de)敘述(shu)。歌中(zhong)(zhong)(zhong)描(miao)述(shu)苗族(zu)先民遠古時期從“東方(fang)”（苗族(zu)早期生活的(de)(de)長(chang)江中(zhong)(zhong)(zhong)下游(you)）向“西(xi)方(fang)”（指湘(xiang)西(xi)、貴州）大(da)遷徙的(de)(de)情景，“姑姑叫嫂嫂，莫(mo)忘帶(dai)針(zhen)線，嫂嫂叫姑姑，莫(mo)忘帶(dai)剪(jian)(jian)(jian)花。”苗族(zu)歷史上的(de)(de)這次大(da)遷徙，是民族(zu)性(xing)的(de)(de)集體(ti)大(da)轉(zhuan)移，即使(shi)(shi)在(zai)這樣艱辛的(de)(de)環(huan)境，婦女們仍把針(zhen)線、剪(jian)(jian)(jian)花當作十分重要(yao)的(de)(de)事項(xiang)，可見剪(jian)(jian)(jian)紙（剪(jian)(jian)(jian)花）與(yu)刺(ci)繡(xiu)早就成了一對孿生姐(jie)妹。

二.苗族剪紙的剪紙范圍

苗族(zu)沒(mei)有漢(han)族(zu)和(he)北(bei)方少數民族(zu)剪(jian)(jian)窗花的習慣，除(chu)在宗教(jiao)活動(dong)中偶(ou)用幾種圖(tu)案(an)極簡單的剪(jian)(jian)紙(zhi)外，只有刺繡(xiu)才廣用剪(jian)(jian)紙(zhi)，而且花樣繁多(duo)，因此人(ren)們所稱的苗族(zu)剪(jian)(jian)紙(zhi)，指的就是(shi)繡(xiu)花剪(jian)(jian)紙(zhi)。

苗(miao)族制(zhi)作刺(ci)繡(xiu)時(shi)(shi)，有(you)些(xie)(xie)繡(xiu)法(fa)，如(ru)(ru)挑(tiao)花(hua)等幾種，是按織物(wu)經緯線(xian)縱(zong)橫交叉點定針腳位，不(bu)需(xu)要畫(hua)底圖(tu)(tu)(tu)就(jiu)能作出(chu)幾何點、線(xian)組成(cheng)的(de)(de)規(gui)整(zheng)圖(tu)(tu)(tu)案，其它如(ru)(ru)平(ping)繡(xiu)、辮繡(xiu)等一些(xie)(xie)繡(xiu)法(fa)則需(xu)先在繡(xiu)面(mian)繪(hui)畫(hua)出(chu)底圖(tu)(tu)(tu)才能刺(ci)繡(xiu)。直(zhi)接在繡(xiu)面(mian)上(shang)繪(hui)畫(hua)圖(tu)(tu)(tu)樣有(you)些(xie)(xie)難(nan)度和缺陷：繡(xiu)面(mian)要求非常干(gan)凈(jing)、整(zheng)潔，直(zhi)接繪(hui)畫(hua)不(bu)易修(xiu)改，稍不(bu)留心(xin)就(jiu)會弄污(wu)；二是費工，相(xiang)(xiang)同(tong)的(de)(de)圖(tu)(tu)(tu)樣也必須一一重復繪(hui)畫(hua)。使用剪(jian)(jian)紙(zhi)就(jiu)便利(li)得(de)多(duo)，相(xiang)(xiang)同(tong)的(de)(de)圖(tu)(tu)(tu)案通過一次(ci)疊剪(jian)(jian)便成(cheng)，復雜(za)的(de)(de)圖(tu)(tu)(tu)樣經過反復修(xiu)畫(hua)再剪(jian)(jian)，剪(jian)(jian)出(chu)來干(gan)干(gan)凈(jing)凈(jing)。同(tong)時(shi)(shi)，剪(jian)(jian)紙(zhi)貼在繡(xiu)面(mian)上(shang)比畫(hua)的(de)(de)圖(tu)(tu)(tu)醒目，并可作工藝上(shang)的(de)(de)提示(shi)，比如(ru)(ru)施洞型(xing)刺(ci)繡(xiu)，需(xu)要鎖邊的(de)(de)線(xian)條(tiao)(tiao)就(jiu)剪(jian)(jian)空(kong)，不(bu)鎖邊的(de)(de)線(xian)條(tiao)(tiao)只(zhi)剪(jian)(jian)破(po)。因而(er)除少數人(ren)、少數地區因習慣仍(reng)沿(yan)用直(zhi)接在繡(xiu)面(mian)繪(hui)圖(tu)(tu)(tu)樣外，絕大(da)多(duo)數人(ren)采(cai)用剪(jian)(jian)紙(zhi)。

三.苗族剪紙的主要技法

苗(miao)(miao)(miao)族(zu)(zu)剪(jian)(jian)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)一(yi)(yi)般都是(shi)用(yong)(yong)(yong)(yong)刀口很尖(jian)細的小剪(jian)(jian)刀剪(jian)(jian)，用(yong)(yong)(yong)(yong)剪(jian)(jian)刀剪(jian)(jian)不(bu)能把(ba)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)層(ceng)(ceng)疊太厚，有(you)(you)些賣(mai)剪(jian)(jian)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)的藝(yi)人(ren)便(bian)改用(yong)(yong)(yong)(yong)刻(ke)刀刻(ke)，一(yi)(yi)次可多刻(ke)幾層(ceng)(ceng)剪(jian)(jian)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)。用(yong)(yong)(yong)(yong)刻(ke)刀刻(ke)時(shi)，紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)下墊一(yi)(yi)塊木板，不(bu)知(zhi)道(dao)使(shi)用(yong)(yong)(yong)(yong)比木板先進(jin)的蠟板。無論剪(jian)(jian)或(huo)刻(ke)，先把(ba)圖案在表層(ceng)(ceng)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)上(shang)畫好，不(bu)像剪(jian)(jian)窗花那(nei)樣隨意剪(jian)(jian)。所用(yong)(yong)(yong)(yong)的紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)，舊(jiu)時(shi)只有(you)(you)當(dang)地(di)于工(gong)(gong)作(zuo)坊生產的白(bai)(bai)皮(pi)(pi)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)、黃(huang)草(cao)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)，有(you)(you)些地(di)區使(shi)用(yong)(yong)(yong)(yong)苗(miao)(miao)(miao)族(zu)(zu)家庭自(zi)制(zhi)(zhi)的絲綿紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)。白(bai)(bai)皮(pi)(pi)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)用(yong)(yong)(yong)(yong)竹、構皮(pi)(pi)等(deng)纖維漿制(zhi)(zhi)作(zuo)，薄(bo)而韌性非常好，經得搓(cuo)揉。絲綿紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)是(shi)將蠶放在木板上(shang)讓(rang)其吐絲結成(cheng)的薄(bo)皮(pi)(pi)，既(ji)挺括又很柔(rou)和，是(shi)最好用(yong)(yong)(yong)(yong)的紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)，它還可代(dai)(dai)替布料作(zuo)繡(xiu)面(mian)或(huo)染色(se)作(zuo)貼繡(xiu)材料。20世紀60年(nian)代(dai)(dai)后，大量工(gong)(gong)廠(chang)化的現(xian)代(dai)(dai)機制(zhi)(zhi)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)輸入苗(miao)(miao)(miao)區。這些紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)價(jia)格便(bian)宜，于是(shi)苗(miao)(miao)(miao)族(zu)(zu)婦女(nv)多采用(yong)(yong)(yong)(yong)28克以下的書(shu)寫紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)，有(you)(you)白(bai)(bai)色(se)的，也有(you)(you)紅(hong)、綠(lv)等(deng)帶(dai)顏色(se)的。多層(ceng)(ceng)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)疊合剪(jian)(jian)刻(ke)時(shi)，苗(miao)(miao)(miao)族(zu)(zu)婦女(nv)們習慣用(yong)(yong)(yong)(yong)白(bai)(bai)皮(pi)(pi)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)捻(nian)或(huo)縫(feng)衣線將紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)穿釘(ding)成(cheng)本子(zi)，一(yi)(yi)幅圖案視大小固(gu)定數個點， 以保(bao)證剪(jian)(jian)刻(ke)中各層(ceng)(ceng)不(bu)錯(cuo)移。白(bai)(bai)皮(pi)(pi)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)捻(nian)如(ru)小鐵釘(ding)，長約2厘米，—頭粗，一(yi)(yi)頭尖(jian)，剪(jian)(jian)刻(ke)完(wan)撕揭(jie)時(shi)不(bu)用(yong)(yong)(yong)(yong)去(qu)掉紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)捻(nian)，以紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)捻(nian)尖(jian)的那(nei)層(ceng)(ceng)紙(zhi)(zhi)(zhi)(zhi)(zhi)(zhi)揭(jie)起，要幾張，揭(jie)兒張，余剩的下層(ceng)(ceng)不(bu)松散，方(fang)便(bian)保(bao)管。

四.苗族剪紙的傳承意義

苗(miao)族剪(jian)紙(zhi)紋(wen)樣(yang)的(de)(de)母(mu)題和(he)(he)表述(shu)(shu)(shu)形(xing)式(shi)(shi)(shi)具有(you)(you)鮮明的(de)(de)集團(tuan)性、地域性和(he)(he)相當(dang)穩定的(de)(de)歷史承繼(ji)性，這是(shi)由(you)其(qi)刺繡的(de)(de)社會功能和(he)(he)傳承特(te)性所決定的(de)(de)。苗(miao)族刺繡一直沒有(you)(you)脫離部落徽記藝術(shu)的(de)(de)范疇，它主要(yao)用于服(fu)(fu)飾裝飾，與服(fu)(fu)飾的(de)(de)款式(shi)(shi)(shi)及其(qi)它裝飾構成不同(tong)支系(xi)(xi)成員(yuan)的(de)(de)外形(xing)識別標志。同(tong)一支系(xi)(xi)是(shi)一個通婚團(tuan)體，相同(tong)的(de)(de)語言，相同(tong)的(de)(de)服(fu)(fu)飾及發式(shi)(shi)(shi)，是(shi)取得同(tong)支系(xi)(xi)成員(yuan)相耳認同(tong)的(de)(de)要(yao)素。各支系(xi)(xi)的(de)(de)刺繡紋(wen)樣(yang)有(you)(you)自己的(de)(de)傳統，代(dai)代(dai)相襲，它的(de)(de)母(mu)題和(he)(he)表述(shu)(shu)(shu)形(xing)式(shi)(shi)(shi)是(shi)經(jing)由(you)相當(dang)漫長的(de)(de)歷史時(shi)期而固化，尤(you)其(qi)是(shi)表述(shu)(shu)(shu)形(xing)式(shi)(shi)(shi)所形(xing)成的(de)(de)程(cheng)式(shi)(shi)(shi)，它不僅(jin)僅(jin)體現山各支系(xi)(xi)的(de)(de)風格，更是(shi)一種(zhong)思維定勢。因此苗(miao)族刺繡和(he)(he)剪(jian)紙(zhi)的(de)(de)傳統紋(wen)樣(yang)，刻(ke)記了(le)許多(duo)遠古文化和(he)(he)原(yuan)始藝術(shu)的(de)(de)特(te)征，它眾多(duo)幻想性的(de)(de)奇妙(miao)形(xing)象，蘊藏著(zhu)神秘的(de)(de)思維寓(yu)意。