On The New Woodcut Movement Of Spiritual And Cultural Heritage Of The Enlightenment

With the analysis of the connection between the Chinese Avant-Garde WoodcutMovement and the spirit of artists during the Western Enlightenment, as well as theimportant role the movement played to promote the social progress of China under thehistorical circumstances of the time, this research focuses on the importance of Mr. LuXun’s engravings compared with the traditional practices of the art form. As we know,printmaking has since fallen out of popularity. The purpose of this paper is to express themajor difference between these two time periods, their factors and why some aspects needto be restored. During the time of Mr. Lu Xun, the focus of printmaking was mainly onthe existence, reflection and critical thinking of modern intellectuals. Technique,expression and the completion of the piece by the artists themselves is only a modernpriority, which has caused the artists to loose focus on expressing any meaning deeperthan surface value. Likewise, the biggest obstacle to the current progress of engraving isthe lack of the enlightenment spirit as the internal drive. This affectively widens the gapbetween art, culture and intellectual criticism. With the modern focus being on techniqueand“the market”, the end product ends up being more about aesthetic rather thansubstantial depth. Based on this understanding, the author attempts to look into a newwork methods, learning from the experience(s) of luxury brands. The artist hopes tobreathe new life into the art world, while restoring something that has been lost.Furthermore, by criticizing the widespread obsession with material value and throughself-discipline and reflection, the artist will find freedom to bring intelligent meaning backinto the art of printmaking.