From Exploring Of Languages To Consciousness Of Discourse

From 1970s, Chinese Printmaking has been showing rich and colorful in types or styles by the development of Academy Printmaking and the fashion of Customs Woodcut. However, in the new century, there are no more notable achievements for Chinese Printmaking with newer materials and more superb skills and techniques. Exhibitions of printmaking works look like technology competitions by guilds due to the declining audiences. To the dilemma, many theorists and artists proposed respective solutions. On the whole, the popular opinions have been limited in aesthetics category, even in the traditional class of art. The changes of art conception by Western Linguistic Turn and the new theories of internal Art Education prompt us that the topic of the contemporary art is not isolated or one-way expression any more. It is closely related to a series modernity propositions, such as communications, the power of discourse and the freedom of individuals etc.. According to the history, printmaking is not a isolated system. The exploring in artistic languages is always related to the technologies and modes of communications. With the breakthrough of its form, printmaking got the constantly culture influences. So the outlet of the contemporary Chinese Printmaking is not to purify the artistic languages by the set principles, but to put itself into the complex context of the society and culture, and consider the relationship between the art media and daily lives from discourse angle. Only in this way, the artistic language of printmaking can refresh its vitality, and the present nonlinear communication rather than self-expression by the specific cultural targets. Thus, we can expect the contemporary Chinese Printmaking to release its cultural influence, and promote the enlightenment of individuals and the construction of Chinese contemporary culture.