Foreword
In the course of the development of Chinese art in the first half the 20th century, the emerging printmaking movement was a vigorous artistic force where cultural ideals were promoted, the idea of facing real life was encouraged, and great art works were shinning. A large number of artists had gathered together, seeking truth in thought, and bravely breaking the traditional rules in art. They had written a moving art chapter in the moving national liberation movement, showing the new quality and majestic power of culture. In this group, Mr. Liu Xian was an original participant and a consistent insister. His contribution to the Chinese printmaking history had given him eternal brilliance.
Under the enlightenment of the May Fourth New Culture Thought and the cultural situation of salvation of the nation, Liu Xian had a strong passion since he was young. Lu Xun, the flag-bearer of the emerging printmaking movement, was not only Liu Xian’s spiritual mentor, but also a creative instructor who gave Liu Xian direct guidance. Liu Xian created illustrations for Lu Xun’s works. In Lu Xun’s wood-engraving works collection, Liu Xian’s art works accounted for the largest number. Owing to this relationship, Liu Xian’s art was based on reflecting social problems while insisting on the pursuit of the soul. It was like looking for the spiritual destination in the dark sky at night, using the thought of art and pen of effort to ignite the flame.
After the outbreak of the War of Resistance Against Japan, Liu Xian resolutely stopped studying in Japan, coming back to his motherland to participate in the anti-Japanese salvation campaign with his companions from wood-engraving field. He then went to Yan’an to work as a wood-engraving teacher in the Department of Fine Arts in the Lu Xun Aacemy of Fine Arts, where he dedicated himself to art creation. Chairman Mao Zedong spoke highly of Liu Xian’s art works which recorded the anti-Japanese warfare and praised the work and life of people in Democratic Base. He said: “I don’t know the disciplines of wood-engraving, but I like appreciating it. Comrade Liu Xian has been here for just a short period, but he has created many art works. I hope that he continues to work hard on the creation of new art for our country.” Inspired by Mao Zedong’s literary thoughts, Liu Xian and other artists in Yan’an worked together along the direction of New Art, played an important role in attacking the enemy and inspiring the people by creating revolutionary artworks.
Born with talent and growing up with deep understanding of art, Liu Xian tends to be detailed in his wood-engraving technique. Learning from western printmaking, he innovated a new format of wood-engraving (木口木刻). The artworks created with the new technique had a rigorous composition and exquisite shape with the burin and ink lines seamlessly integrated with the wood grain texture. His works are full of brightness and clarity, creating a comfortable and vast atmosphere filled in every detail of the painting, reaching a new height of the time by transforming Chinese printmaking into a casual creative style by absorbing western art essence.
After the founding of the People’s Republic of China, Liu Xian bore in mind the change of the times and the new yearning for “beauty” in the society, Liu Xian themed his artworks to expression of natural life and fable stories. The style became fresher and more comfortable. He expressed his praises of the new society and of the simple life in a large number of artworks and book illustrations, represented by his work series Hundred Flowers Blossom.
This year marks the 100th anniversary of the May Fourth Movement and the 70th anniversary of the founding of new China. It is very realistic for understanding the artistic contribution of Mr. Liu Xian and the spirit of exploration of a generation of predecessors by holding the "Liu Xian: Wood-Engraving Master” exhibition. Looking closely at the traces of the burins and pens is like listening to the sound of wood pecking. Who can say that the tiny wood-engraving is not a miniature of the era and Mr Liu Xian’s art life?
Fan Di’an
September 2019
Foreword
In the course of the development of Chinese art in the first half the 20th century, the emerging printmaking movement was a vigorous artistic force where cultural ideals were promoted, the idea of facing real life was encouraged, and great art works were shinning. A large number of artists had gathered together, seeking truth in thought, and bravely breaking the traditional rules in art. They had written a moving art chapter in the moving national liberation movement, showing the new quality and majestic power of culture. In this group, Mr. Liu Xian was an original participant and a consistent insister. His contribution to the Chinese printmaking history had given him eternal brilliance.
Under the enlightenment of the May Fourth New Culture Thought and the cultural situation of salvation of the nation, Liu Xian had a strong passion since he was young. Lu Xun, the flag-bearer of the emerging printmaking movement, was not only Liu Xian’s spiritual mentor, but also a creative instructor who gave Liu Xian direct guidance. Liu Xian created illustrations for Lu Xun’s works. In Lu Xun’s wood-engraving works collection, Liu Xian’s art works accounted for the largest number. Owing to this relationship, Liu Xian’s art was based on reflecting social problems while insisting on the pursuit of the soul. It was like looking for the spiritual destination in the dark sky at night, using the thought of art and pen of effort to ignite the flame.
After the outbreak of the War of Resistance Against Japan, Liu Xian resolutely stopped studying in Japan, coming back to his motherland to participate in the anti-Japanese salvation campaign with his companions from wood-engraving field. He then went to Yan’an to work as a wood-engraving teacher in the Department of Fine Arts in the Lu Xun Aacemy of Fine Arts, where he dedicated himself to art creation. Chairman Mao Zedong spoke highly of Liu Xian’s art works which recorded the anti-Japanese warfare and praised the work and life of people in Democratic Base. He said: “I don’t know the disciplines of wood-engraving, but I like appreciating it. Comrade Liu Xian has been here for just a short period, but he has created many art works. I hope that he continues to work hard on the creation of new art for our country.” Inspired by Mao Zedong’s literary thoughts, Liu Xian and other artists in Yan’an worked together along the direction of New Art, played an important role in attacking the enemy and inspiring the people by creating revolutionary artworks.
Born with talent and growing up with deep understanding of art, Liu Xian tends to be detailed in his wood-engraving technique. Learning from western printmaking, he innovated a new format of wood-engraving (木口木刻). The artworks created with the new technique had a rigorous composition and exquisite shape with the burin and ink lines seamlessly integrated with the wood grain texture. His works are full of brightness and clarity, creating a comfortable and vast atmosphere filled in every detail of the painting, reaching a new height of the time by transforming Chinese printmaking into a casual creative style by absorbing western art essence.
After the founding of the People’s Republic of China, Liu Xian bore in mind the change of the times and the new yearning for “beauty” in the society, Liu Xian themed his artworks to expression of natural life and fable stories. The style became fresher and more comfortable. He expressed his praises of the new society and of the simple life in a large number of artworks and book illustrations, represented by his work series Hundred Flowers Blossom.
This year marks the 100th anniversary of the May Fourth Movement and the 70th anniversary of the founding of new China. It is very realistic for understanding the artistic contribution of Mr. Liu Xian and the spirit of exploration of a generation of predecessors by holding the "Liu Xian: Wood-Engraving Master” exhibition. Looking closely at the traces of the burins and pens is like listening to the sound of wood pecking. Who can say that the tiny wood-engraving is not a miniature of the era and Mr Liu Xian’s art life?
Fan Di’an
September 2019
