Printmakers use only one wooden board to carry out multi-page engraving, and after the first edition is printed, when the second edition is created, the first part of the print must be destroyed, and so on, and finally the multi-plate overprint is completed. When the last color engraving is completed, the work is completed, leaving the last color of the engraving on the wooden board, and the other engravings are naturally damaged, which is called "out-of-print woodcut". It was this out-of-print woodcut that laid an important foundation for the rise of Yunnan printmaking.
Jointly sponsored by the Museum of Nationalities of China and the Wuxi Museum, the "Cloud Impression - Tibetan Ethnic Printmaking Art Exhibition of the Museum of Chinese Nationalities" was recently launched in the fourth floor exhibition hall of the Central District of the Wuxi Museum, which not only reflects the appearance of Printmaking in Yunnan, but also popularizes the categories of printmaking that have gradually lost practicality.
Chen Yongle "Sweet Papaya"
The Paper, Art Review (www.thepaper.cn) learned from the Wuxi Museum that the exhibition showcases more than 110 ethnic prints collected by the Museum of Chinese Nationalities, covering four technical categories: black and white woodcuts, chromatic woodcuts, out-of-prints, and copperplate engravings. It is worth noting that the reason why Yunnan prints have such a great charm is because in addition to the unique Customs and Customs of Yunnan, There is a special expression technique in Yunnan prints - out-of-print woodcuts. As an important expression technique in Yunnan printmaking, out-of-print chromatic woodcuts laid an important foundation for the rise of Yunnan printmaking.
In addition, the exhibition also exhibits 16 cultural relics of Manchu, Han, Mongolian, Hui and Tibetan prints collected from Russia and 10 woodcut group paintings of the painter Huang Yongyu's "Ashima".
Huang Yongyu "Ashima" (this piece is a reproduction in the exhibition)
Wuxi Museum said that Yunnan printmaking has a strong national style and a strong atmosphere of life, highlighting the confidence and charm of Yunnan printmaking art. Wuxi has been an important town of Chinese printmaking art since ancient times, during the Ming Dynasty, Wuxi people Hua fu became the originator of Chinese copper movable type printing, and its "Huitongguan" published classics named After shaking the north and south of the great river. This exhibition is very suitable for the regional culture of Wuxi, and is also a witness to the exchange, exchange and integration of national cultures.
Exhibition site
Lai Hui, vice president of the Wuxi Academy of Calligraphy and Painting, believes that Yunnan printmaking is both national and modern; it has both local colors and personal styles, and has become one of the four major genres of contemporary Chinese printmaking after Sichuan, Heilongjiang and Jiangsu. This cultural form of coexistence and symbiosis of multiple ethnic cultures, the coexistence of realism and decoration, and the juxtaposition of figuration and abstraction, will become the basic attitude towards different national cultures in the context of globalization.
Mr. Lu Xun once said: "Chinese woodblock prints, from the Tang Dynasty to the Ming Dynasty, once had a very decent history. "The earliest Chinese print, the Xiantong Edition of the Vajrapani Prajnaparamita Tantra, was written in the ninth year of Tang Yizong (868), and the Nanwu Shakyamuni Buddha Statue during the Liao and Song dynasties is the earliest color overprint print found in China. Since the Ming and Qing dynasties, the Jian'an school centered on Jianyang in Fujian, the Jinling school centered on Nanjing in Jiangsu, the Wuling school centered on Hangzhou in Zhejiang, and the Hui school centered on Huizhou in Anhui have led the way in the history of printmaking art and passed on to future generations. In the 1930s, the new woodcut movement with Mr. Lu Xun as the standard-bearer as the "throwing gun and dagger of the Chinese revolution" led the artistic trend of the new cultural movement since May Fourth.
Exhibit works
Out-of-print woodcuts
Yunnan out-of-print woodcut technology is a kind of creative type of one-edition multi-reprinting technology, that is, the artist uses only one wooden board to carry out multi-edition engraving, after the first edition is printed, and then when the second edition is created, the part of the first edition must be destroyed, and so on, multi-edition overprinting. When the last color engraving is completed, the work is completed, leaving the last color of the engraving on the wooden board, and the other engravings are naturally damaged, which is "out of print". The out-of-print woodcut technique liberates the inhibition of the artist's ideological expression to the greatest extent, and it is also very consistent with the character of multi-ethnic cultural integration in the artistic soil of Yunnan. This one-edition multi-engraving overprinting technology maximizes the artist's personality and talent, reflects its originality and uniqueness, liberates people's aesthetic concepts from the procedural fixed mode of multi-color overprinting, and greatly enriches the creative language and expression techniques of printmaking. Out-of-print woodcuts have gradually been accepted by the contemporary printmaking art community and promoted to be used nationwide, becoming one of the most important works of art in contemporary printmaking.
History 1 "Spring in the Valley"
Jiang Defang, "Flowers a Good Full Moon",
Fan Wenguo's "Beautiful Menglian's Costume"
Cold Light Shake "Lushan Twilight Return"
Black and white woodcuts
Black and white woodcut, that is, black and white woodcut prints, its connotation is to use the law of black and white contrast to express the soul of black and white art, is the art of speaking with black and white lines. Knowing black and keeping white, there are systematic and perfect expression methods and techniques in black and white woodcut art, which has an artistic language that cannot be replaced by other paintings, and it is simple, simple and very accurate to present the artist's thoughts and emotions. Yunnan local painters Chen Qi, He Yongkun, Zhang Yanmei, Li Chuankang, Zhang Hao and a number of other outstanding artists have long studied the rich ethnic cultural resources of Yunnan, and are good at expressing their profound national feelings and colorful ethnic customs with black and white woodcuts.
Chen Qi, "The Marriage of the Langa Xihe Series"
He Yongkun,"Dai Family"
Copperplate engravings
Copperplate engraving is a category of printmaking art, which refers to a kind of print engraving on the copper plate made of chemical corrosive liquid or needle or knife, which belongs to the gravure plate. Since the popularity of engraving and printing in Europe in the 15th century, Dürer in Germany, Rembrandt in the Netherlands, Goya in Spain, Manet, Monet, Degas of French Impressionism and Picasso, the Spanish master of contemporary art, have all created very exquisite and elegant copperplate engravings. Copperplate engraving art is elegant, solemn, strong sense of metal, in the world is a valuable and elegant art painting. The subject matter of the copperplate engravings in the collection of the Museum of Nationalities of China involves the cultural forms of Tibetans, Mongolians, Turks, Yugurs, Hui and other ethnic groups in the Great Northwest, which has greatly broadened the artistic horizons of Yunnan printmakers and enriched the artistic categories of Yunnan printmaking.
Lü Min, "Harvested Warm Wind"
Zhang Handong , "Dream of Yunnan"
Chen Li "Panda"
Bai Shaocheng "Love Banna"
Chromatic prints
Chromatic printmaking is another category of printmaking art, which refers to the art of printmaking with the least number of colors to overprint a rich layer of picture effects. Among them, chromatic woodcut is divided into two kinds of mimeograph woodcut and watermark woodcut, mimeograph woodcut is overprinted with oil color for printing, watermark woodcut is printed with water-based pigments on rice paper with strong water absorption, water color is dripping, thick And huazi, forming a vivid and rich special mechanism. Watermark prints can be made with pen, ink, color, thick and light, similar to the original, Rong Baozhai, Duo Yunxuan and other institutions are mostly used to copy Chinese paintings. In the exhibition, "Mother's Love" is a chromatic print, which uses a multi-layered, multi-color artistic language to praise the sublimeness of human nature and the greatness of maternal love.
Impressions of the Clouds - Exhibition of Tibetan Ethnic Prints at the Museum of Chinese Nationalities