Research On The Modern Turn Of Chinese Copperplate Etching In The Historical Context

Based on the chronological sequence of the development of copperplate etching in China,this dissertation aims to conduct research on the historical logic of the development of modern and contemporary copperplate etching art in China and the characteristics of its modern generation.On the one hand,the dissertation combs and clarifies the artistic characteristics and influence of copperplate etching,a kind of western painting,which was introduced to China twice in the Qing Dynasty and in the 1930 s.Such as the communication between eastern and western cultures caused by the dissemination of copperplate etching,the role of“Western Painting Spreading Eastward”,the unique historical value of court recorded copperplate etching in the Qing Dynasty,and the transformation of “copperplate etching” in image dissemination and social functions since the emergence of wood engraving have been deeply studied and analyzed;On the other hand,it is a research on the different dimensions and artistic characteristics of modern and contemporary copperplate etching in different stages of development in China.Further exploring the progress,achievements,and implications of these new explorations of copperplate etching,it also reveals the difficulties and shortcomings it faces in different historical stages and in the process of modern generation,which giving us more space for reflection and exploration at the present time.This dissertation is divided into five major historical periods based on the historical stages of the development of copperplate painting in China,and will use literature analysis,case analysis,interview,comparative analysis,and image analysis methods.The dissertation will conduct a systematic collection,organization,and research on these five time periods of Chinese copperplate etching,clarify the current state and future direction of the research object,and clarify the nature of the works involved in the article and their relationships with each other.This dissertation is divided into five chapters.Firstly,Chapter it narrates and analyzes the initial entry of copperplate etching in the imperial court in the late Kangxi Period of the Qing Dynasty and the re-entry of expressive copperplate etching in the 1930 s.Through the analysis of the development and dissemination of copperplate etching in the late Ming and early Qing Dynasties,it is revealed that the early introduction of copperplate etching into China not only played an important role in recording and promoting the governors’ political and military achievements,but also promoted the process of “Western Painting Spreading Eastward”,objectively promoting the exchange of Chinese and Western culture and art.In the 1930 s,copperplate etching was reintroduced along with the emerging wood engraving movement,in terms of subject matter and techniques,the copperplate etching of this period is fundamentally different from those brought about by missionaries in the 16 th and 17 th centuries.Copperplate etching painting is no longer a tool for religious communication,but rather used as an artistic creation means.A unique visual form of painting has been introduced to China,which has also opened the path for Chinese artists to explore the modernity of copperplate etching painting in their social functions and values.Secondly,in the Chapters II and Chapter III of this dissertation,the narrative function,expression paradigm,and difficulties encountered in copperplate etching during the two historical periods of “during the 17 years since the founding of the People’s Republic of China” and “from 85 Ideological Trends to the end of the 1990s” are discussed.During the 17 years since the founding of the People’s Republic of China,the special social,political,and cultural influences on copperplate etching have led to the realistic characteristics and narrative functions in the early days of the People’s Republic of China,resulting in the formation of typical images such as “industrial themes”,“worker emotions”,and “agricultural themes”.However,this has also formed a realistic contradiction between the pursuit of a single dimension of grand narrative and multiple artistic connotations;In sharp contrast to the earlier period,the “Post 85 Ideological Trends” was influenced by the western modernism trend of thought.During this period,the awareness of the creative theme of the copperplate etching artists awakened,forming a refined study and innovation of the ontological language of“copperplate etching”.In addition to the preliminary exploration of personal artistic style,this period also formed the excavation of regional culture,historical culture.Copperplate etching artists tried their best to eliminate the exaggerated and dramatic effects of realism that emphasized “Red Themes” in the past,and to truly record the daily state and facial expressions of local people in a more calm and objective language.The Chapter IV and Chapter V,the dissertation combs the concept,printing,and dissemination of Print in the development process since the new century,and uses this as a starting point to outline the evolution of copperplate etching art creation in contemporary art trends through theoretical thinking and practical exploration and analysis of these issues.These two chapters focus on the research on the early 20 th century and post 2010 copperplate etching,taking 2010 as a node.Before 2010,under the influence of the post-industrial society,artists developed new thinking about their society and culture,resulting in two deconstruction modes: internal and external.After 2010,they focused on exploring the crisis of copperplate etching in the collision between Chinese and Western cultures from the perspective of globalization,internet technology,and other aspects.Chinese contemporary copperplate etching embodies the advantages of indirect art in digital media expression.The combination of the ontological language of copperplate etching and modern technology has experimental value.On this basis,the inherent logic of contemporary Chinese copperplate etching art creation is explored.Based on the above research,the author believes that as a foreign type of print,after nearly half a century of development,in the historical evolution of modern Chinese print,accompanied by changes in the theme,content,form,and style of the times,the continuous transformation of copperplate etching in terms of media and techniques fully reflects the specific era background and cultural connotation of Chinese print art,and thus endows copperplate etching with new possibilities and new directions.With the pursuit of modernity and contemporary value,contemporary copperplate etching has participated in the generation of social culture and diversified visual construction.