(gold ink forty years 4)

To print 40 years of "bearing" and "change"

Power generation.

In November 2018 08, 08:41 source: 138479.xyz: People's Daily Overseas Edition

Flower Sea
Chen Chao1

awaken land

A wide field
He Kun

40 years of reform and opening up, Chinese is determined to change, and strive to 40 years of printmaking initiative. The development of the four aspects in the body consciousness, aesthetic pursuit, language construction and the future, Chinese prints along the original and Qingyuan, inclusive and expand the idea of moving forward.



The new woodcut from the Lu Xun initiative so far, China prints after three generations of people to form three times prints, prints from a three generation of people and the title of the mission.

The first generation of print people salvation in the trend of the times, so that Chinese prints from the ashes, inject new life. They subvert the objective reappearance on subjective performance, change the fate of replication to create new technology means of sublimation for the pursuit of art, the seed sown new print.

The second generation print people carrying Pishajianjin not only constructs the formal teaching system for China prints, broaden the print performance space, deepen the woodcut personality, advocate the application, coated tablets and the screen version of the extension of the performance dimension print language, the contradiction between human and material properties of the painter the extended to the field of more profound thinking.

As the beneficiaries of reform and opening up, the third generation of print people with predecessors have totally different backgrounds, are also facing the historic opportunity to have a brilliant future. They are in the senior care under the guidance of "know know to be symptomatic of a new drug for any operation to push chen".

The background of reform and opening up, give Chinese prints a restart and update time. The second and third generation prints seize the pulse of the times, to practice once again affirmed the new woodcut movement spirit, the reality is not clear out of print art noumenon value creativity, do not stay in the simple reproduction of life, to understand the development of holistic version of painting art with the development of the nation's overall view.


The second generation third generation human body consciousness to explore printmaking creation, to practice aesthetic pursuit, language knowledge construction, to the future development of thinking idea.

Because that is clear, clear thinking, China prints with the times and social interaction works out. For example, the first to feel the warmth of the 1978 reform and opening up slowly in Song Yuanwen's wake, "Earth", by Shen suppression describing soul stagnation of nature, next day even the reeds and downs, startled the geese indicates the awakening and expectation. Guangzhou in the creation in 1979 of the "spring night", the artist's experience in Beijing through the alley to the open door window: thick spring, every family courtyard is bright, the branches of the birds sing merrily sing in the shade...... Although the black and white wood, but people feel the colorful spring. The history of the "spring and Autumn" river to the heroic bearing of the dust swept the minds of people, "Tao in the world, and Sichuan Valley on the river", the sword Fuzao carved express to celebrate a great era.

The third generation of prints from 1978 began to enter the professional art colleges and universities and its fame, but also the historical period of image. Such as Wu Changjiang's "Tibet paintings" and Xu Bing's "play", Su Xinping rice women "prairie theme series" Yu Chengyou "," Zhang Hongxun ", from the wind," Li Yanpeng gold ", Yuan Qinglu's" cut "valley of the rising sun". The third-generation print people not only the beneficiaries of reform and opening up, is the witness of the era of great change. Their works are not only in the aesthetic form, meaning, more in the spirit of the connotation of emotion, pointing to.


The reform and opening up to Chinese prints can increase the understanding of the ontology value, borrow updated by the idea, direct writing practice. Especially in the cultivation of second generations of print people under the influence of the third generation of prints from quantity to quality are showing strong momentum of development. Their creation in theme, aesthetic, language, performance, scale, display and other aspects, reflecting the important influence of reform and opening up on printmaking theme: choose more broadly, adhere to the creation of realistic themes, also give attention and exploration of the history and future of the representative; careful characterization of the masses of the people can be more inclined the admiration; both pay attention to social hot spots, also hopes to enthusiasm of ordinary life.

The broad theme leading aesthetic pluralism. The painter calm, relaxed audience appreciation. Has the aesthetic significance and hard work and The mighty river flows eastward. bridges, good to hear or see the same ideal setting for a couple in love.

Broad topic and aesthetic diversity determines that the language is more personalized. In the face of different themes, the traditional printmaking language is clearly not enough, the need to extract new language elements from contemporary culture and art. The more profound exploration of language in the third generation of the creation of printmaking is obvious, for example, Cai Feng's "ancient festival" and He Kun's "wilderness", Luo Guirong's "my land", Chen Chao's "Huahai", Hao Ping's "ancient", the Zhang Yuanfan bottle series "travels". Etc..

The process of printmaking language elements of the new extraction, and varies from person to person to promote the personality done. Individuality and commonness in the era of dependent interaction, complementary. This coexistence is also reflected in the many youth version of the artist's works, for example, into the world ", Paul Liu's" peach spit "life", Lu Zhiping's NO.2 map "on the sea", Hao Yanjie's "race", Dai Zhengsheng's "story telling", head disease medicine head Zhang Minjie "square dance" etc..


If the print was like daggers and spears and weapons, in today's reform and opening up, print more can be the beauty of humanity flowers; if prints dare to challenge the darkness, then it should be good at singing light. In the era of great changes not only profound art, more profound humanity. On how to understand and show the profound, several generations of artists to explore, bold practice, achievements.

The two generation of printmaking people, there are a lot of both print education pioneer and practitioner of artistic creation and promote the development of print leader, so it may adhere to the new woodcut creation spirit, explore the objective law of art prints, straighten out the logical relationship China of contemporary graphic development. They are in the awakening of consciousness of printmaking, printmaking advocate affirmation of individuality of language and law of art development, has played an important role.

The third generation of printmaking people face the historical opportunities have a brilliant future, no longer entangled in the means of expression, and more concerned about the aesthetic object; no longer entangled in the painting of the limitations, and even the pursuit of the personality; do not care about the level of social status and high official positions and riches ups and downs, only care about whether their creation to pure art.

The third generation print people understand, only adhere to the new woodcut movement the original intention is the pursuit of creative art, adhere to print their own rules of the respect, adhere to the position of art more macro, in a more objective perspective on time, close to the times, performance times, it may not be the history of the passer-by, in order to achieve the leap and to print the development of history and reality, in order to make advanced seed, seedlings under historical background of reform and opening up blooming brilliant flower prints.

The reform and opening up, let China print generations to move into a process a process. As the new woodcut movement initiated by Lu Xun predicted: "constantly strive to make wood, a ride a ride ahead".

(the author is deputy director of the printmaking art committee of China Artists Association)

(Lu Jing, He Yinghai: commissioning editor)