Prints have been neglected as a valued art form after reaching its popularity peak in the 1960s in China. But artist Lu Zhiping is trying to revive interest after opening a new studio.
Few art forms like Chinese prints are stamped with the country's social changes witnessed in the last 100 years. Whether it's 1930s woodblock prints, featuring the life of peasants, or pieces from the 1970s that reveal more practical functions than artistic value, prints continue to evolve.
Politics no longer dominates the cutting knife. Themes vary and subjects range from abstract to ordinary objects -- even the image of a jean skirt is print art now. "I know many are prejudiced against Chinese prints," says Lu Zhiping, director with the Print Department of the Shanghai Artists Association.
"But as an art form, prints have a unique power of expression." One of the most obvious examples is Norwegian artist Edvard Munch's "The Scream." Picturing a woman clasping her hands on her face, the work is on both canvas and on a print. However, the print version is more influential with the subject reflected in a black-and-white backdrop with wild and uncontrolled cuttings that adds overwhelming force to the image.
Lu and several colleagues opened a print studio at the Peninsular Art Center last May and are hoping to revive the fading art genre. His training class -- a one-day course costs 50 yuan (US 6.02) -- has attracted many students, including foreigners and artists of other forms.
"I am tired with painting on rice paper," says Zhang Guiming, an established traditional ink-wash painter who took part in the class. "It's fun and I've had new thoughts when doing prints." According to Lu, the advantage of prints lies in concise lines and the addition of new techniques. Print artists are now making designs using computer graphics before copying the image onto a copperplate or other forms. It's a long way from the work introduced by Lu Xun, "The Godfather of Modern Chinese Literature."
Western styles and techniques pushed changes in Chinese prints in 1930s. Chinese artists, rather than craftsman making obvious New Year wishes, embarked on creating both expressionism and realism in woodblock prints. These innovative ideas soon swept across the country. The fever for Chinese prints reached its zenith in the 1960s when millions of prints featured political leaders, workers, peasants and soldiers are popular. So prevalent at the time, they could be seen everyday.
"It's a pity that Chinese prints are gradually 'retreating' from our life," Lu laments. "Everyone can be an artist in print." Using different substance, prints are made on either zincograph, copperplate, silkscreen or woodblocks. After the image is carved, ink is brushed onto it, then a piece of paper is placed on top.
A flat press creates the final image on paper. Prints have two styles. By brushing the ink into the carved grooves or, alternatively, on the background creates different images. For those taking Lu's class, the unexpected result of prints is part of the fun. The artist can not check their progress while creating, unlike other art forms.
"I thought I just carved these lines poorly, yet the final effect is just the opposite," says Shi Hua, a 30-something fashion magazine editor.
"It's very fascinating." Learning the basic skills, if under proper guidance, is also easy for beginners. But conversely, improving skills is considerably more difficult. And it affects professional print artists, not just beginners. Internationally known Chinese-French artist Zao Wou-ki uses many colors in his prints and critics are quick to say Chinese prints are small and less complicated. "A colorful piece is the outcome of different layers of colors which are stamped one after another via the same complicated process," Lu says. "Only a few artists are patient and have the energy to do it today."
It's also worth noting that wall-sized prints require large sums of money and space. In the West, cranes and several people are needed to properly display large prints. Still, there are benefits to prints.
"Compared with oils and traditional ink-wash paintings, prints can be produced over and over, as long as the model plate isn't destroyed," says Chen Fan, owner of Avant-garde Gallery. "Normally a piece of print, if not coming from big names, sells for 500 yuan (US$60) to 2,000 yuan. More and more people have started to buy prints."
The price advantage is one of the reasons for the increased popularity of prints while newer printing techniques and the embrace of modern themes are also significant factors. For some families, oil paintings or Chinese brushwork doesn't match the style of home decor. But a small print, even one's own creation can work wonders.
"I feel proud to hang up the print that I made here at my home," says Shi, one of Lu's students. "Although it might not be so artistically perfect, at least it is art I created for my family."
Lu Zhiping's print studio
Opening hours: 9 am-6 pm, daily
Venue: Peninsula Art Center, 1/F, Lane 1518, 12 Xikang Rd.
Tel: 6276-3093
(eastday.com December 10, 2003)
