Wycinanki: The Art of Polish Paper Cutting
Wycinanki (pronounced vee-chee-NAHN-kee) are decorative cut-paper compositions produced by rural women in central Poland. The word derives from wycinać — to cut out. The craft emerged in the Mazovian lowlands during the mid-19th century and became particularly concentrated in two regions with distinct, easily recognisable styles: Kurpie, north of Warsaw, and Łowicz, to the west.
Origins and Early Practice
The earliest documented examples date to roughly the 1850s. Before that period, shepherds in the region are recorded as having cut decorative shapes from tree bark and leather — a precursor technique that shares the same impulse toward geometric ornament. As coloured paper became accessible to rural households, women adopted it and developed increasingly complex compositions.
The primary tool was not scissors but sheep shears — the same curved blades used in agricultural work. This limited cutting motion shaped the vocabulary of wycinanki forms: tight spirals, repeated notches, and symmetrical folds all reflect what sheep shears can accomplish efficiently.
Wycinanki were traditionally hung on whitewashed cottage walls and ceiling beams for religious holidays, particularly Easter and Christmas. They were replaced annually, so few examples from before 1900 survive.
The Kurpie Style
Kurpie wycinanki — called leluja or gwiazdy depending on form — are cut from a single sheet of paper, typically in one colour: black, red, or green. The compositions are radially symmetrical, often depicting stylised trees, roosters, or floral sprays. A characteristic Kurpie form is the tall narrow tree motif, cut from a single folded sheet so that the left and right halves mirror each other exactly.
The Kurpie region encompasses the forests north and northeast of Warsaw, around the towns of Ostrołęka and Łomża. The relative geographic isolation of this area meant local craft traditions developed with limited outside influence until well into the 20th century.
The Łowicz Style
Łowicz wycinanki are immediately distinguishable from Kurpie work by their use of multiple colours and layered construction. A base layer is cut first, then smaller pieces in contrasting colours — typically red, yellow, green, and blue — are glued on top. The result is a dense, jewel-like composition in which geometric and botanical motifs interlock.
The most characteristic Łowicz form is the kodry: a rectangular striped composition built from alternating bands of cut paper. A second major form is the round or oval medallion, constructed from a central motif surrounded by concentric layers of cut shapes. Both reflect the same striped textile tradition visible in the famous Łowicz folk costumes.
Tools and Materials
- Sheep shears — the traditional cutting instrument, still preferred by many experienced practitioners
- Coloured tissue paper — thin, easy to layer; the standard material from roughly the 1880s onward
- Flour paste or starch glue — used for adhering layers; commercial glue now common
- Folded paper technique — a sheet folded once or multiple times allows symmetrical cuts without marking
Documentation and Preservation
The most significant early documentation was carried out by ethnographer Seweryn Udziela, whose 1924 publication Wycinanki ludu polskiego: łowickie i kurpiowskie (published by the Municipal Industrial Museum in Kraków) recorded designs from both regions. The National Library of Poland holds the original and has made it available through the Polona Digital Library.
UNESCO inscribed Polish wycinanki on the Representative List of Intangible Cultural Heritage in 2023. The inscription recognised both the Kurpie and Łowicz regional traditions, noting that the craft continues to be taught in local culture centres and schools.
The State Ethnographic Museum in Warsaw holds one of the largest collections of historical wycinanki, with pieces dating to the late 19th century.
Contemporary Practice
Wycinanki continues to be made by practitioners in both regions, with active circles in Łowicz, Myszyniec, and surrounding villages. Regional competitions are held annually, maintaining quality standards and providing a context for intergenerational transmission. Contemporary artists have also adapted the visual language of wycinanki to larger formats, screen printing, and digital illustration — though the hand-cut original remains the primary form.