Author(s)

Ting Gao ¹, Mustaffa Halabi Azahari ²

Affiliation(s)

¹ City Graduate School, Faculty of Creative Industries, City University Malaysia, Kuala Lumpur, Malaysia
² Public Teaching Department, Taishan Vocational College of Nursing, Tai'an, China

Corresponding Author

Ting Gao

ABSTRACT

Gardner's theory of stages in children's art perception suggests that children favor artworks that are superficially more appealing. Simply put, children are drawn to artworks featuring vivid colors, anthropomorphic or exaggerated forms that spark curiosity and capture their affection. Ku Shulan's paper-cutting art aligns perfectly with these aesthetic preferences. However, some creators still encounter missteps in practical application. To address these issues, the author proposes corresponding optimization strategies, primarily analyzing aspects such as form, color, and composition.

KEYWORDS

Paper cutting, Ku Shulan's Paper-Cutting, Children's picture books

CITE THIS PAPER

Ting Gao, Mustaffa Halabi Azahari. Application Analysis of Ku Shulan's Paper-Cutting Characteristics in Children's Picture Books. Journal of Sociology and Ethnology (2026). Vol. 8, No.1, 34-46. DOI: http://dx.doi.org/10.23977/jsoce.2026.080105.

REFERENCES

[1] Liang, C. (1996). A worldly perspective on the lotus (p. 142). Shaanxi Tourism Press. 
[2] Wang, W. Z. (2024). A history of Chinese folk art. People's Fine Arts Publishing House. 
[3] Li, J. (2023). Studies on folk art from the perspective of folklore. Culture and Art Publishing House. 
[4] Chen, J. (2024). A history of Chinese paper-cutting art. China Light Industry Press. 
[5] Guo, M. (2023). A study on the aesthetics and culture of folk paper-cutting. Culture and Art Publishing House. 

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