Get Organized

In the narrative of modern and contemporary printmaking history,"Sichuan Printmaking" as a group art phenomenon or "painting school" and "genre" has become an established concept.However,there are still many ambiguities in this concept.This article limits its forming and development process in Seventeen year period(1949-1966) when its development is most vigorous and constitutes the representative face of today's cognition for the purpose of staged tracing and discussion.In combing this historical fact,the close relationship and important role played by the "Sichuan Artists Association" cannot be ignored.This also points out the collectivization and organization?Institutionalization or other issues contained in the art creation of the "seventeen-year" period.This article starts from the historical context of the close relationship between Sichuan Printmaking and the Sichuan Artists Association.It first reviews the "organization" tradition in the new engraving art movement in China,the situation of printmaking in the new era after the People's Republic of China was founded,and the Sichuan Artists Association's history of establish.When the Sichuan Artists Association began to take the responsibilities gave by the times,printmaking became the "vanguard" due to various reasons,which directly gave birth to the Sichuan Printmaking.In such a historical environment,artists have participated in the construction of the collective and need to make their own contributions as members of the collective.In this collective atmosphere,the artists have also explored their own common and individual creative features.In the end,It constitutes the basic appearance of the Sichuan Printmaking seen today.This kind of regional development of Sichuan Printmaking is not a special case.The development of printmaking in the "seventeen-year" period has become an important chapter in the history of printmaking.Through the exploration of the diachronic process of Sichuan Printmaking and the Sichuan Artists Association context and the observation of horizontal synchronicity,this article intends to deepen the problem of the artistic landscape and cultural production methods presented in this major turning point in the development of modern Chinese art.