to an umbilical line to small red individuals that splay out in the deck. This piece strongly sets aside doctrine and confirms the imperativeness of the individuals, and is the standout of the show. The demonstration of cutting is moreover vital as an image of the Dao, the standard that grips positive and negative drives. Shengzhong's piece The Vertical of Negative and the Level of Negative, a 42-foot-extended cut-paper painting, encapsulates this guideline. Expansive, huge-headed children make islands around which masses of humbler figures swarm like schools of fish or sperm, raising momentums that convey the eye. Shapes in dark and red transform from figure to ground and to figure again in a euphoric showcase of formal stroke of genius. In the four boards from the piece The Poetry of Congruity, Shengzhong likens allegorical recombination with the inference of dialect, a letter set of structure. He astutely makes mandalas from symmetrically put cut deciphers, and lays lines of shapes vertically or evenly beneath, made from snippets of broken set patterns. From a separation these pieces give off an impression of being conventional calligraphy parchments, but it is clear Shengzhong has an impulse regarding comicality that is a bit subversive. Close viewing is constantly remunerated. Subversive humor was a survival tactic that Shengzhong utilized in making suggestive subtexts covered up in the enchanting worker accounts of Adoration Tune, time honored compositions on silk. Alternate early plans showed on the ground stun of the display have a non specific, stylized hand that, however useful, will usually draw vigor at a distance from the surface explanation made by the in statement. Three Elements Lu bases the theme of his paper cutting around the dynamic life cycle of paper cutting. The theme is an old technique that sustains vitality through infinite recreation and variation. With the art of recreation and variation as a basic technique, the art itself becomes a way becomes the art of constant renewal, not only in the art but life as well. For instance the art was used in holidays, festivals, weddings, and funerals. These events mark certain passages within a person's life. There are three basic elements in Lu Shengzhong's artwork that he finds essential in the art of paper cutting. The first element is the dynamic relationship between positive and negative forms, in which is constantly created in the art of paper cutting. Lu feels what's so significant