Recently, the "Printmaking 100 - 2021 Annual Collection Exhibition" was opened in the Art Museum of Shenzhen Academy of Painting. The exhibition presented the works of 64 artists and lasted until November 23, 2022. "Printmaking 100 - Annual Collection Exhibition" (hereinafter referred to as "Printmaking 100 Exhibition") is a cultural brand project created by Shenzhen Academy of Painting in 2013 for printmaking theoretical research and creative practice activities. The "Printmaking 100 Exhibition" not only displays and collects the annual fine prints in China, but also makes many attempts to "store and activate" the collection resources. (The picture is Chen Yuqiang's "Liu Lang Wen Ying") This year's exhibition is themed "Learning from the past to create new", and aims to activate the collection and innovate the inheritance. Through sorting out and displaying the watermark prints collected over the years in the "Printmaking 100 Exhibition" project, it presents the inheritance context and technical innovation of contemporary Chinese watermark print creation. It is a curatorial practice centering on the oriental characteristics of Chinese print art, It is also an exploration to convey the oriental aesthetic concept and cultural connotation to the public based on the inherent laws of art history. (The picture is Huang Qiming's "Two Flowers in the Fog") Watermark woodcarving, as a unique art originated in China, has been developed from the Sui Dynasty woodcarving after more than a thousand years of historical evolution. The traditional watermark woodcarving themes have gradually expanded from medical books and calendars to book illustrations, notes, and folk New Year pictures. It has been increasingly widely used in social life in different times, and its skill level has also been constantly improved, For example, Taohuawu New Year pictures in the Qing Dynasty were not only sold throughout the country, but also spread overseas as export products, which had a more far-reaching impact on Japanese "Ukiyoyo". (The picture is Wu Jide's Autumn of the Bridge.) The traditional watermark woodcut emphasizes the "water culture" characteristic of the oriental culture, expands the connotation and extension of the print language with the inclusiveness of "water", carries the cultural perspective and memory inheritance of the oriental society, and is an important carrier of the Chinese traditional culture and the oriental aesthetic spirit. This aesthetic spirit also presents a colorful appearance in the contemporary Chinese print creation. (The picture is Hao Wenxi's "City Scenery 3") The more than 60 works in this exhibition were all selected from the water print prints collected in the "Printmaking 100 Exhibition" held in recent years. These works involve landscapes, flowers and birds, urban humanities and other themes. Most of them were created by the representative painters and the backbone in the field of Chinese waterprint prints. Their creations reflect the mature skills of famous artists, It also reveals the style and trend of contemporary Chinese print creation. (Liu Xinshe)
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Source：xinhuanet
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