Poetic Perching—A Study On Creation Of Female Printmakers In The Transitional Period

In the history of the development of modern Chinese printmaking,men have always been the main body of printmaking.As the main body of printmaking,women were almost absent before the founding of the People's Republic of China.After the founding of the People's Republic of China,female printmaking artists such as ZhengShuang,Lv Yan and JiangBibo gradually increased.This paper focuses on ZhengShuang,AGe and Li Xiu,three female printmakers who grew up during the cultural revolution.Due to the limitations of time,the influence of social environment,together with their respective aesthetic choice,after the reform and opening to the outside,they boldly jump out of the bearing,"theme first" through their independent thinking and the unremitting exploration and finally under the call of a new era,to create their own style,also widen the road for the development of printmaking.Through the research and analysis of their works before and after the reform and opening up,it can be clearly seen that the three artists from the reform and opening up before the creative characteristics of "thematic" and "grand narrative" to the reform and opening up after the performance of the life of the small interest and natural scenery to show the "poetic habitat" characteristics of the transformation.The research content of this paper is composed of introduction,text and conclusion.The first part is the introduction,which mainly introduces the research reason,research significance,research content,research method,research background and research status.The second part is the body content,which is divided into three chapters.The first chapter is a brief overview of the two stages before the reform and opening up,focusing on the creation of three female printmakers after the founding of the People's Republic of China,ZhengShuang,LiXiu and AGe.The second chapter is the research on the creative characteristics of three female printmakers after the reform and opening up.The third chapter focuses on the three female printmakers in the transitional period of printmakingchanges and the reasons for the continuation.The third part is a summative discussion on the research problems in this paper.