(5.4.1)--5.4-AppreciationandAnalysisofAnc.pdf

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1、Hello,everyone.Im Wang Chao from the Department of Printmaking of China Academyof Art.In this class,I will introduce you to two folk figure prints in the Qing dynasty.Chinese Suzhou prints are mostly small-sized prints,repetitive and simple in coloringduring the reign of Emperor Kangxi.In terms of t

2、he subject,most of them are concerned with familiar folk tales,symbolizing good fortune or conveying moral and ethical values,and have aneducational effect.Being pleasing to the eye,decorative and fun is an important feature of the prints.Most of the prints do not have poems or postscripts inscribed

3、 on them.The overall form,on the one hand,draws on the style of the single page or doublespread of the book prints in the late Ming dynasty,and on the other hand,shows thecharacteristics of folk art.This print is in the Sir Hans Sloane collection in the British Museum.It is a woodblockprint made in

4、Suzhou,China in the early Qing dynasty,circa 1700.The print depicts two people arguing over a gambling game,and a man is mediating.It is a vivid representation of the entertainment life of the townspeople in the early Qingdynasty.This print is made from seven woodblocks of different colors.First,wha

5、t was printed form the main ink woodblock was the line drawing of thepicture,including the top of one figure in the back,and the shoes of the two figures inthe front.The gambling table,the round stool,and the bottom of the fence in the distance wereprinted in pure flower blue,the bamboo fence,and th

6、e border of the standing screenwas printed in grayish rattan yellow.The inner frame of the standing screen,the distant mountains depicted on the landscapescreen,and the costumes of the two figures on the left were all printed in bright rattanyellow.The hat tassels and blushes of the three figures,an

7、d the tops and long gowns of thefigures on the left,are“carmine”red;the stool surface,the table border,the feet of thestanding screen,and the tops of the figures on the right of the picture are darker bluegray;the long gowns of the two figures on the front are lighter blue gray.Finally,a brush is us

8、ed to polish the“blue gray clothes”of the figure on the front left ofthe picture to create a“dynamic”pleating effect,and the same method is adopted topolish the“outline of the top”of the figure on the front left to express the texture of thefur coat.Among them,the fence and the border of the standin

9、g screen are in dark grey with agreenish tendency,which color is produced by mixing rattan yellow with a little ink.The clothes of the figures on the left were first printed in lighter flower blue,and then ared woodblock was overprinted on it,so that another purple color was produced.The stool surfa

10、ce,the table border,and the feet of the screen in the lower left corner aswell as the top of the figure on the right are all in grey blue,which is made by blending ink and flower blue.This print has a steady,quaint color scheme.As flower blue,rattan yellow,carmine and ink are all vegetable pigments,

11、cheaper and easier to obtain than mineral pigments,they were used in large quantities in early Chinese folk prints.The special feature of the coloring of the print is the overprinting and the finalpolishing with the dry brush.In the 20th century,the last step in New Years prints in Gaomi County,Shan

12、dongProvince,is called“puffing”,which means using a dry brush to sweep the carbon dust and rub out the part of thepicture that needs to be emphasized.In Suzhou around 1700,such kind of printmaking techniques could only be named as dry brush polishing ordry brush scrubbing,two terms of traditional Ch

13、inese painting,for the time being.Thereafter,the technique that distinguishes printmaking from painting has been takenseriously by researchers.In ancient China,prints of door guards were on sale throughout the country as cross-class objects.It was customary to post the door guards on the doors in th

14、e Spring Festival,even in thehomes of the aristocrats.The woodblock print of the door guards in the early Qing dynasty,circa 1700,was also in Sir Hans Sloane collection,and later was bequeathed to the British Museum.The figure in the print,by its red-faced feature,is commonly described as a typicalf

15、igure of Guan Yu(a famous Chinese military general).However,the long-handled axe held by the figure is the usual weapon of anotherChinese historical figure,Cheng Yaojin(also a well-known military general).Perhaps it can be said that this is a portrait of Guan Yu with some of the characteristics ofCh

16、eng Yaojin.This print is a combination of overprinting and“hand-painting”and is made with thefollowing three steps:first carving the main lines of the picture on a woodblock,then printing in light ink,and at last filling in the picture with color.The colors used in this painting are also dyes for dy

17、eing clothes,so they are relatively“bright”and transparent.The colors in this work are not all the pigments used in traditional Chinese painting.At least there are vermilion,carmine,bright yellow,soft green,dark blue and thick ink.To be noted,the face of the door guard is lead white,which has darken

18、ed over time.The whole print uses pure and bright colors and concise lines,displaying an obviousdecorative feature as well as a strong sense of rhythm.The print is a rare extant work made in the 18thcentury.Its stylistic features are similar tothose of the extant New Years prints from Mianzhu County

19、,Sichuan Province in the 19thcentury.The pigments used in this print and the method of its production are still controversialand cannot be investigated.Today,folk New Years prints still often use“dyes”as pigments,as dyes are cheaper than“traditional Chinese painting pigments and are suitable for massprinting of New Years prints.This is all I want to share with you about the two folkwoodblock prints.Class is over,thank you!