There are many other examples with similar usage of “Hua Zhu (桦烛).” Besides, it also refers to the vividly decorated candles that are used when people get married in the past, implying happy and peaceful. Moreover, candles are traditionally regarded as a symbol of teacher – burning itself to illuminate others. Thus “Tao Li Hua Zhu (桃李桦烛)” implies “to become a birth bark candle for the sake of others (化成桦烛桃李香)”- that is, to turn the substance into a spirit.
The reason we translated the subject “Tao Li Hua Zhu (桃李桦烛)” as “Prometheus in Printmaking” is that Prometheus is one of the wisest gods in Greek mythology and a son of the Titan Lapetus. The meaning of his name is “forethought (先见之明).” Not only did Prometheus create humankind from clay, but he also stole fire from the Mount Olympus and gave it to humanity, teaching them knowledge and skills. In this sense, the word “Prometheus” represents fire and teacher. Using it as the English title of this exhibition is easy for westerners to culturally understand Li Hua’s status, significance, and value in Chinese printmaking.
The exhibition unfolds around Li Hua’s different cultural identities, offering interpretations from three perspectives: Pioneer, Professor, and Woodcut Writer.
1. Pioneer
As one of the revolutionary fighters in the New Woodcut Movement, Li Hua had a close relationship with Lu Xun. Under the influence and promotion of Lu Xun, who advocated the movement, Li devoted himself into woodcut creation with a persistent attitude of experimentation and transcended the conception of “new woodcut engraving” to the level of an independent art form. Meanwhile, he was also regarded as one of the first to carry on a thorough analysis of the basic concepts of printmaking that have been widely used nowadays, including creative wood engraving and reproductive wood engraving, which cannot be overlooked in the research of New Woodcut Movement and Modern Art History. In addition to his artistic contributions, Li showed a positive attitude towards life and maintained a reserved manner, fulfilling the idea of “walking out of the ivory tower.” Although there are a lot of examples of intellectuals throwing themselves into China’s revolution, rarely can someone like Li Hua, using his knife and brush to directly devote himself to protest against the invasion by the Japanese army. Especially with his support, the opening of “the National Woodcut Exhibition” and the publication of the woodcut magazine Modern Printmakingoffered diverse and practical guidelines for the public and scholars.
As a result, how should we outline this special historical background, and how should we address the influence the woodcut, as a new media back then, had on the social activities? As one of the pioneer engravers, Li Hua offered us a perfect example to study when his influence and exploration of artistic language met with the cultural environment of that great era. This exhibition is an attempt to answer the question that what they are the interactions and tensions that were formed during the process？
2. Professor
As a professor of the Central Academy of Fine Arts, Li Hua had always prioritized the role of teaching and educating students over his identity as an artist. While as a pioneer in the education of printmaking in China, and the establisher of the teaching system of academy printmaking, Li went through two periods: one is the period in the Beiping Art School, and the other is in the Central Academy of Fine Arts. Particularly in the latter period, he made notable achievements and contributions, for he established the Department of Printmaking of CAFA and organized the foundation of the China Woodcutters Association. Then, in the new period of history, what are his contributions to the education of printmaking, especially to the establishment of the Department of Printmaking of CAFA? How did he set up the plan, the syllabus, teacher groups and various course materials? What kind of legacy was left by him with his teaching orientation and attitude? This section will shed light on Li Hua’s educational activities and academic thoughts.
3. Woodcut Writer
In the historical development of modern art, Li Hua was undoubtedly one of the few artists who excelled in all aspects, including art practice, theory, and education. In his artistic creation, Li left us with a lot of great classics that reflects the reality of the social conditions of that time, such as the series of “Roar! China”, “Raging Tide”，“Figures on the bridge” and so on. In the construction of art theory, Li compiled the entry of “printmaking” for the Encyclopedia of Chinaand was directly involved in the construction of the concept of modern printing in China. He has written up to a thousand essays for art theory. Thus we define Li Hua as a “woodcut writer,” which not only matches his unique quality of using both the graver and pen but also is consistent with our recognition of the principle of aesthetic creation in his art theory. Therefore, we are going to examine the relationships between Li Hua and his woodcut works in different periods of his life；how is this relationship forms his self-identity？
Related Activities:
During the exhibition time, a series of academic discussions and public education activities will be offered:
1. Forum: “Woodcut Writer and a Great Era” will present solid research studies and discussions. We will invite specialists and scholars to for an in-depth discussion on a range of topics, including the exhibition theme and its construction, Mr. Li Hua’s artistic achievements as well as its relations with art history, etc.
2. Art Talk: The famous Japanese printmaking scholar Miyama Ryo will be invited to give an open talk on Li Hua and the New Woodcut Movement.
3. Workshop: “Convex and Concave – Hands-on Experience on Printmaking” is an open workshop for the public to experience the process of printmaking. It emphasizes on introducing the characteristics and distinctions of woodcut printing, thus expanding the public’s understanding of printmaking.
4. Studio Adventure: This is a public signed-up event offering two or three site visits to the studio of the Printmaking Department at CAFA. Students in the department and technicians will be accompanied for the interpretation.
5. Guided Tour: By making a reservation, participants could enjoy the guided tours led by docents for all the stories behind the exhibition.
Exhibition Coordinator: Gao Gao
Exhibition Executor: Wu Peng, Su Shicun
Collection Management: Li Yaochen, Jiang Nan, Du Yinzhu
Exhibition Visual Design: Ji Yujie
Space Designer: Sun Hua
Archives Design: Yang Yuanyuan, Wang Qifan, Chen Zhe
Lighting Design: Liu Xiaoguang
Design Assistant: Min Zhiying
Media Publication: Xu Xinli, Zhao Jing, He Yisha, Wu Jing
Public Education Promotion: Ren Rui, Yao Tiequn, Liang Wen
Administrative Planning: Jiang Siyu, Sun Wei, Yang Liu
Film Planning: Ding Yi
Film Production: Artron.Net
Data Compilation: Sun Wen, Chen Xuanrong
Special thanks to the following institutes and individuals:
Beijing Luxun Museum, Shanghai Luxun Museum, China Art Museum, Guangdong Museum of Art; Hubei Museum of Art; Sichuan Art Museum and Qiang Art Studio
Jiang Wen, Wang Yan, Cao Qinghui, Wang Jinhui, Li Kang, Li Hao, Zheng Yumin, Liu Siyuan, Zhang Zhen, Cai Tao, Lu Yinghua, Liu Hongjian, Zhou Lixia
There are many other examples with similar usage of “Hua Zhu (桦烛).” Besides, it also refers to the vividly decorated candles that are used when people get married in the past, implying happy and peaceful. Moreover, candles are traditionally regarded as a symbol of teacher – burning itself to illuminate others. Thus “Tao Li Hua Zhu (桃李桦烛)” implies “to become a birth bark candle for the sake of others (化成桦烛桃李香)”- that is, to turn the substance into a spirit.
The reason we translated the subject “Tao Li Hua Zhu (桃李桦烛)” as “Prometheus in Printmaking” is that Prometheus is one of the wisest gods in Greek mythology and a son of the Titan Lapetus. The meaning of his name is “forethought (先见之明).” Not only did Prometheus create humankind from clay, but he also stole fire from the Mount Olympus and gave it to humanity, teaching them knowledge and skills. In this sense, the word “Prometheus” represents fire and teacher. Using it as the English title of this exhibition is easy for westerners to culturally understand Li Hua’s status, significance, and value in Chinese printmaking.
The exhibition unfolds around Li Hua’s different cultural identities, offering interpretations from three perspectives: Pioneer, Professor, and Woodcut Writer.
1. Pioneer
As one of the revolutionary fighters in the New Woodcut Movement, Li Hua had a close relationship with Lu Xun. Under the influence and promotion of Lu Xun, who advocated the movement, Li devoted himself into woodcut creation with a persistent attitude of experimentation and transcended the conception of “new woodcut engraving” to the level of an independent art form. Meanwhile, he was also regarded as one of the first to carry on a thorough analysis of the basic concepts of printmaking that have been widely used nowadays, including creative wood engraving and reproductive wood engraving, which cannot be overlooked in the research of New Woodcut Movement and Modern Art History. In addition to his artistic contributions, Li showed a positive attitude towards life and maintained a reserved manner, fulfilling the idea of “walking out of the ivory tower.” Although there are a lot of examples of intellectuals throwing themselves into China’s revolution, rarely can someone like Li Hua, using his knife and brush to directly devote himself to protest against the invasion by the Japanese army. Especially with his support, the opening of “the National Woodcut Exhibition” and the publication of the woodcut magazine Modern Printmakingoffered diverse and practical guidelines for the public and scholars.
As a result, how should we outline this special historical background, and how should we address the influence the woodcut, as a new media back then, had on the social activities? As one of the pioneer engravers, Li Hua offered us a perfect example to study when his influence and exploration of artistic language met with the cultural environment of that great era. This exhibition is an attempt to answer the question that what they are the interactions and tensions that were formed during the process？
2. Professor
As a professor of the Central Academy of Fine Arts, Li Hua had always prioritized the role of teaching and educating students over his identity as an artist. While as a pioneer in the education of printmaking in China, and the establisher of the teaching system of academy printmaking, Li went through two periods: one is the period in the Beiping Art School, and the other is in the Central Academy of Fine Arts. Particularly in the latter period, he made notable achievements and contributions, for he established the Department of Printmaking of CAFA and organized the foundation of the China Woodcutters Association. Then, in the new period of history, what are his contributions to the education of printmaking, especially to the establishment of the Department of Printmaking of CAFA? How did he set up the plan, the syllabus, teacher groups and various course materials? What kind of legacy was left by him with his teaching orientation and attitude? This section will shed light on Li Hua’s educational activities and academic thoughts.
3. Woodcut Writer
In the historical development of modern art, Li Hua was undoubtedly one of the few artists who excelled in all aspects, including art practice, theory, and education. In his artistic creation, Li left us with a lot of great classics that reflects the reality of the social conditions of that time, such as the series of “Roar! China”, “Raging Tide”，“Figures on the bridge” and so on. In the construction of art theory, Li compiled the entry of “printmaking” for the Encyclopedia of Chinaand was directly involved in the construction of the concept of modern printing in China. He has written up to a thousand essays for art theory. Thus we define Li Hua as a “woodcut writer,” which not only matches his unique quality of using both the graver and pen but also is consistent with our recognition of the principle of aesthetic creation in his art theory. Therefore, we are going to examine the relationships between Li Hua and his woodcut works in different periods of his life；how is this relationship forms his self-identity？
Related Activities:
During the exhibition time, a series of academic discussions and public education activities will be offered:
1. Forum: “Woodcut Writer and a Great Era” will present solid research studies and discussions. We will invite specialists and scholars to for an in-depth discussion on a range of topics, including the exhibition theme and its construction, Mr. Li Hua’s artistic achievements as well as its relations with art history, etc.
2. Art Talk: The famous Japanese printmaking scholar Miyama Ryo will be invited to give an open talk on Li Hua and the New Woodcut Movement.
3. Workshop: “Convex and Concave – Hands-on Experience on Printmaking” is an open workshop for the public to experience the process of printmaking. It emphasizes on introducing the characteristics and distinctions of woodcut printing, thus expanding the public’s understanding of printmaking.
4. Studio Adventure: This is a public signed-up event offering two or three site visits to the studio of the Printmaking Department at CAFA. Students in the department and technicians will be accompanied for the interpretation.
5. Guided Tour: By making a reservation, participants could enjoy the guided tours led by docents for all the stories behind the exhibition.
Exhibition Coordinator: Gao Gao
Exhibition Executor: Wu Peng, Su Shicun
Collection Management: Li Yaochen, Jiang Nan, Du Yinzhu
Exhibition Visual Design: Ji Yujie
Space Designer: Sun Hua
Archives Design: Yang Yuanyuan, Wang Qifan, Chen Zhe
Lighting Design: Liu Xiaoguang
Design Assistant: Min Zhiying
Media Publication: Xu Xinli, Zhao Jing, He Yisha, Wu Jing
Public Education Promotion: Ren Rui, Yao Tiequn, Liang Wen
Administrative Planning: Jiang Siyu, Sun Wei, Yang Liu
Film Planning: Ding Yi
Film Production: Artron.Net
Data Compilation: Sun Wen, Chen Xuanrong
Special thanks to the following institutes and individuals:
Beijing Luxun Museum, Shanghai Luxun Museum, China Art Museum, Guangdong Museum of Art; Hubei Museum of Art; Sichuan Art Museum and Qiang Art Studio
Jiang Wen, Wang Yan, Cao Qinghui, Wang Jinhui, Li Kang, Li Hao, Zheng Yumin, Liu Siyuan, Zhang Zhen, Cai Tao, Lu Yinghua, Liu Hongjian, Zhou Lixia
