Foreword
Print (Banhua) as an art form originated in China. At first, the purpose of print making was to reproduce illustrations in literary works, and to make copies of Spring Festival paintings, folk paintings, and religious paintings. In this way, prints served in spreading the popular arts. Throughout the years, the technique and art of engraving matured and transformed itself from a mere reproduction technology into a medium of artistic expression. However, this fundamental shift occurred abroad, not in its native land. It was in the 1920’s that print as a creative art form was re-introduced to China and gradually became accepted and appreciated by some young Chinese artists. Thus, today we say the phrase “banhua hui niangjia — print returns home”. Lu Xun, the renowned writer, while advocating arts that “confront reality” played a critical role in promoting and cultivating the Chinese New Print. Today, Lu Xun is still widely regarded by Chinese engravers as “the Father of the Chinese New Print”.
In the past half century, the art of modern Chinese print has developed along with social, political, economic, and cultural changes of China. It has always reflected, with its unique form, the kaleidoscopic aspects of China’s life and times, and the fluctuating trends in social thinking and cultural focus. By the efforts of generations of artists, and by absorbing fine domestic cultural traditions and learning from the best of foreign cultures, the art of engraving has continuously strengthened its language of expression, enriched its styles, and broadened its horizon. In terms of variety, print has expanded from woodblock to copper, stone, and silkscreen, and has adopted from Chinese traditional folk engravings such techniques as water-print, powder-print, and rubbing. These techniques, suitable to contemporary expression have evolved and matured, and display an Asian charm unique in the world of print.
The art of engraving has an intrinsic association with human knowledge and use of natural and artificial materials. In a sense, it is this knowledge and use which sustains and promotes the development of prints. This quality allows print to be an open and comprehensive art form, and reveals the unpredictable future of the evolution of its language of expression, techniques of production, and external format. This means that engravers today must respond with quick reflexes, ingenious imagination and laborious persistence. This presents exciting artistic challenge.
The China Academy of Fine Arts, formerly, the National Institute of Fine Arts, is one of the birthplaces of the Chinese New Print. The Department of Print was one of the first to offer print education in China. During the past forty years, the Department has made corresponding achievements in cultivating talent, establing scholarship, as well as in print creation. In the year when Hong Kong returns to its motherland, we are very honored and pleased to be invited by the Library of Hong Kong University of Science and Technology to exhibit our recent works. Our sincere thanks to the University Librarian, Ms. Min-min Chang, and to everyone who has assisted in organizing this exhibition.
ZHANG Yuanfan
Chairperson, Department of Print
China Academy of Fine Arts