Northern Shaanxi paper-cutting art is commonly known as window paper-cutting. After women cut it, they paste it on the window panes covered with snow-white thin paper. The colorful window paper-cutting is like blooming spring flowers blooming in the farmhouse, colorful and unique. During the Spring Festival, the window paper-cuttings cut by rural girls, young wives and old ladies are pasted on the windows and the kang head, shining brightly and fascinating. At that time, walking into the countryside was like walking into the world of window paper-cutting, which was dazzling and refreshing. Northern Shaanxi paper-cutting has a long history. As early as the Southern and Northern Dynasties, it was involved in people's lives and folk activities. In the Qing Dynasty, it entered the palace and became a place of elegance. Northern Shaanxi paper-cutting is unique and unique. Although the hands of Northern Shaanxi women who work all year round are rough, they are very dexterous when cutting window paper-cutting. There is a folk proverb in Northern Shaanxi that girls should be clever, and pomegranates and peonies are cut. The so-called Maojiao refers to those paper-cutting experts who do not need to draw patterns on paper. They can stretch their minds and create freely with scissors, express their spiritual world at will, express their inner feelings, and spread their life perceptions, ideals and wishes, and love for life and hometown on colorful paper. Therefore, the paper-cutting in northern Shaanxi is rich in content and diverse in form. There are wedding flowers (used for weddings), longevity flowers (used for birthday celebrations), kang flowers, and funeral and sacrificial flowers. The content of paper-cutting is mostly ancient and modern figures, natural features, old scenes, birds and beasts, flowers, plants, fish, insects, and daily life and production tools. Common ones include magpies stepping on branches, cranes and deer in spring, lions rolling embroidered balls, golden roosters playing with peonies, and chicken-catching dolls. Northern Shaanxi paper-cutting is a branch of Northern Shaanxi culture. It embodies the joys, sorrows, anger, and psychological consciousness of the people of Northern Shaanxi, and has a unique aesthetic taste. It is neither a simulation of the natural form of Western traditional concepts nor a deformation of the natural form of modern concepts. It is a natural expression of the thoughts, feelings, and aesthetic concepts of the people of Northern Shaanxi for thousands of years. It has a distinct and strong spirit of the times, local characteristics, life atmosphere, decorativeness, appreciation, and practicality. Yulin is the hometown of Northern Shaanxi paper-cutting. The art of paper-cutting is widely spread here, with many participants. From a regional perspective, there are three blocks; Suide and Mizhi are one block, and the paper-cutting works here are simple and heavy; Dingbian and Jingbian are one block, and the paper-cutting works here are free and delicate, thick and simple; Shenmu and Fugu are one block, and the paper-cutting works here are vigorous, thick, simple and bright. There are many paper-cutting masters in Yulin, such as Chen Shirong, Zhang Xiaomei, Guo Peizhen, Cao Hongxia, Lu Peigui, Hua Yuexiu and others. Some of their excellent works have been exhibited in Beijing, some have been published in the province, and some have been collected by the country. Guo Peizhen, an old lady from Jiaxian County, was praised by relevant departments as a master of Chinese folk paper-cutting art, and was appointed as the executive director of the Chinese Folk Paper-cutting Research Association, and was awarded the title of Chinese Clever Woman. Their creative deeds and artistic achievements have been reported by the media many times, and they are well-known throughout the country and abroad. Northern Shaanxi paper-cutting is rough and bold, simple and elegant, bold and exaggerated, abstract and deformed, eclectic, and freehand. It has the connotation of philosophy, aesthetics, history, archaeology, society, and cultural studies, and is highly valued by the literary and art circles. In the 1940s, the famous writer Ding Ling, the poets Ai Qing and Li Ji, and the painters Gu Zhi and Jiang Feng collected and sorted out a lot of paper-cutting when they were collecting folk songs in Sanbian (the collective name of Dingbian, Anbian, and Jingbian), and published the earliest paper-cutting collections in my country, "Northwest Paper-cutting" and "Window Flowers: Folk Paper-cutting Art". Entering the period of reform and opening up, Northern Shaanxi paper-cutting works entered the market and appeared in theaters, shops, bars, and restaurants in big cities. With the increasing frequency of my country's foreign cultural exchanges, paper-cutting works from northern Shaanxi have gone abroad and become a popular Chinese folk handicraft among international friends. In view of the glory of paper-cutting in northern Shaanxi, Dingbian and Jingbian counties in Yulin City were named the hometown of paper-cutting art by the Ministry of Culture.