Hope In Perplexity

Since 1979, with the implementation of the policy of reform and opening up and the development of reform and openness, the revolution in ideology and the renewal of ideas have put forward the overall development of China prints' creation and have obtained remarkable achievements. Joy apart, however, we can't help worrying about the future of China prints, because the prints language has changed, to a higher degree, the crude and backward situation occurring in the past. The abundance of prints skills and the novelty and variety of pattern forms are unprecedented, even in the aspects of material experiments, as well as the absorbing and application of new materials and skills, China prints are by no means inferior to any other types of paintings. Maybe it is just because the workmanship, characteristic of materials, marks and prints skills are over relied on, some of the artists are lost in the situation of poor and weak spirit, but there are still other artists who have shown the new humanism spirit and made an endless exploration on how to build prints form and spirit in the present age. This brings to the artists in the new century a new hope.The first part of the thesis points out the reason why China prints developed and changed through the analysis of its cultural background in the end of 20 century. With the introducing of western modernism arts and postmodern culture, the types of China prints in the end of 20 century have transformed from the original single closeness to diversified openness. Moreover, the pattern has been rebuilt, the overall development has been obtained and it shows the Chinese characteristics.The second part has analyzed the art conditions of China prints in the end of 20 century. It states the co-existence and complementarity in its style of creation and visual images, the variety of materials, types, skills and the multilevel of thecreation objects. Meanwhile, it points out the problems existed: the lack of artistic spirits and the non-standard of exhibition mechanism. Through comparison, we get to know that domestic works are serious and the artists are lack of passions and concerntrations while the works from abroad are more likely to bring pleasure feelings to people. The condition advances a new challenge to China prints in the new century.The third part stresses that the historical task of China prints artists in new century is to get into the contemporary cultural context and improve the spiritual quality of its works. The spirit and pattern of the prints depend on its creator's character. The inner emotion of an artist is the endless motive power of thoughts. The highest "China art spirit" that is built by artists and makes the value system of "forgetting artistic forms and feeling its spirits" as its main values has been regarded as the values direction of China prints in new century, which goes beyond the skill level and steps into profound thoughts.The final part gives a conclusion to the whole thesis. That is Chinese artists should take the highest China art spirit as the value standard and stand in the front row of the era. They should present the contemporary spirit of humanism in the form of concrete and perceptual visual symbols on the values of "take human as the dominant factor" and by the use of unique prints language, create the works of art with cultural character and spiritual connotation.