苏莉《达斡尔族哈尼卡剪纸艺术》

Art of Hanika Paper Cutting Among the Daur

Dekorli, Ewenki, born in February 1972 in Aoluguya Ewenki Township, Genhe City, Hulunbeier, Inner Mongolia, member of Inner Mongolia Writers Association, member of Chinese Minority Writers Association, main works: The Story of Little Reindeer, My Northern Sad Forest, Basha Ewo and Reindeer Story, Looking for the Grassland in Legends, etc.

Known as "Hanika," this traditional paper doll art of the Daur ethnic group, also referred to as "Haneika," translates to "pupil" in the Daur language. "Hanika" signifies "tiny figures within the pupil," symbolizing life and spirituality.

Hanika possessed a certain mystical quality in its purest Daurian context, deeply intertwined with the Samanism faith that the Daur tribe adhered to. Originating from the depths of the Great Xing'an Mountains, the Daur people's entire way of life was intricately linked to nature. Whether it was hunting, fishing, or farming, they followed the laws of nature, sharing a belief in Samanism with other ethnic groups of Northeast Asia. This belief in the spirituality of all things was deeply ingrained in their essence, shaping their very existence.

Early Daur tribe members would devoutly craft leather dolls, symbols of their totems, to worship. They depicted the image of the mountain god "Bainacha" on tree trunks deep within the forest. When someone fell ill, family members cut paper dolls and floral patterns, burning them in rituals to heal. They also made human figures from animal skins, birch bark, or paper, placing them in shrines to represent their gods.

Gradually, the Daur people began to integrate this artistic form into their daily lives.

The naturally artistic and skilled Daur women cut various patterns from natural or dyed animal skins, sewing them onto the hems, slits, cuffs, fronts, and necks of their leather clothes. Often, these embellishments served not only as decoration but also as reinforcement for worn or damaged areas.

This was the genesis of the art of paper cutting, primitive yet distinctly Northern, reflecting the essence of the Daur people. Paper was still a distant concept; it arrived in the Daur territory after the Qing Dynasty. Before then, they cut leather, cloth, and birch bark.

Some Daur men and women would cut out animals and human figures from birch bark to amuse children in their leisure hours. The pliable nature of the bark encouraged their imagination, inspiring them to create daily utensils like salt jars and smoking baskets and toys like deer, horses, cows, and elk for children. They would even cut out figures of people riding on the backs of these animals, inviting children to engage in imaginative play.

Playing at being adults is a natural outgrowth of children's curiosity and a vital way to learn about adult life. For the Daur, a language-rich but literacy-poor culture, such play effectively educated the younger generation. When we played with Hanika as children, our elders would teach us the etiquette of greeting guests, greeting elders, and offering tea and cigarettes.

In this way, the game of Hanika became a microcosm of Daur life, an indirect yet consequential tool for intellectual, moral, and aesthetic education among the Daur people.

With the introduction of paper, this art form flourished rapidly. In any Daur household, beautiful paper cuttings could be found anywhere on the ceiling, doors, windows, and chests. The Daur people sewed patterns onto their clothes, gloves, shoes, pillow covers, cradle liners, and tobacco pouches. These patterns could be ink drawings or paper cuttings, some embroidered, most sewn from cloth cutouts. However, all initial pattern designs were created with paper cuttings.

This quiet game seemed to suit girls more, as they tended to have a lasting interest in daily life, unlike boys passionate about archery, horseback riding, and hunting. Thus, it was aptly described that Hanika was the "Barbie doll" of the Daur girls. Every Daur girl owned multiple Hanika, with a complete family of characters. Besides the figures, they also prepared small paper boxes, wooden blocks, bottles, and other discarded items from daily life to create their own "household." Then, two or more children gathered in one's home, arranging their Hanika and belongings to create ordinary houses, castles, or palaces, depending on their imagination. The grand play began!

This game was particularly effective in stimulating children's imaginations. Such was the childhood of Su Mei, me, and our many female friends. We played together, made up stories, and portrayed various roles, sometimes speaking in high voices for the children and sometimes in low voices for the grandfather. Sometimes, we disagreed over the storyline, but "I'm not playing anymore!" was always on the tip of our tongues before we gathered our things and went home. But playing Hanika alone was never as fun, so we looked forward to playing with friends again, learning to compromise and not overthink, and enjoying playing Hanika together.