Under The Banner Of Revolution

As a print maker and print educator in the art history of China in 20 century, Li Huahad also drawn a number of ink and wash paintings as well as prints from 1940s to1990s. Those paintings consists of an important part of the creation of Li Hua, eventhough the skills of which are not that mature. It is very important to study those inkand wash paintings, which helps to understand Li Hua a lot. This research has noticedthe difference of Li Hua’s attitude towards ink and wash paintings before and after thefounding of the PRC and placed it in the politic and culture environment to discussthe complicated characteristics of Li Hua.Chapter1 discusses the ink and wash paintings of Li Hua before the founding of PRC.During the Anti-Japanese War, Li Hua started to draw ink and wash paintings, whichbased on sketch skills and showed charm of traditional Chinese Literati Painting. Hisattitude towards ink and wash paintings was spontaneous. He thought that ink andwash paintings should reflect the reality, especially the lyric reality.Chapter 2 talks about the main problem. In the article of Li Hua during 1950s and1980s, Li Hua had emphasized that the importance of ideological remolding inremolding ink and wash paintings. However, his real style of ink and wash paintingsopposed to this viewpoint. The landscape paintings consisted most of the paintings.Chapter 3 analyzed the reasons. First of all, it was related to the political backgroundand culture policy. Secondly, it reflected the complexity of the characteristic of Li Hua.Thirdly, it showed the need of expression of Li Hua. Although treated as therepresentative of progressive woodcut, Li Hua, as a real person, had richcharacteristics and creation styles.