Xing Song

The research object of this paper is the characteristics,historical coordinates and significance of "gray" in “XinSong” created by Kang Ning in 1984.Therefore,it is necessary to first study the creation experiences of black and white woodcut of Kang Ning and the development history of "gray" in domestic black and white woodcut.And finally,One can obtain a more comprehensive and accurate understanding of "gray" in "XinSong".The first chapter of this paper is mainly a literature review.Firstly,it analyzes and explains the research object,the reason why the object been selected,the research status at home and abroad in order to point out the gains and losses of previous research on this object.And on this basis,trying to explain the logic of the research and methods to be used in this paper,as well as the research significance and so on.Basis on abundant interviews of Kang Ning and collecting of information about him,the purpose of the second chapter in this article is firstly to organize and classify the drawing experiences of Kang Ning,especially,the clues of developing of “gray”which been hinted in these works which been created after Kang Ning had been enrolled by SiChuan Fine Art Institute and had began to learn how to create printmaking works.Then,on the basis of the abundant material accumulation,one can expect to have a systematic understanding of the origin of the "gray" in “XinSong” and a preliminary understanding of the characteristics of the "gray".The third chapter is a classification which is about the development and characteristics of "gray" in black and white woodcut since the "New Woodcarving Movement".Firstly,the history of the development of "gray" in black and white woodcut in China is sorted out.Also,on this basis of it,the "gray" in black and white woodcut works before “XinSong” is analyzed from three aspects: the proportion of "gray" in the picture,the style tendencies of "gray" pictures,and the presentation ways of "gray".The fourth chapter,from the same perspective as the third chapter,the author makes an in-depth analysis of the characteristics of the "gray" in “XinSong” from three aspects: the proportion of "gray",the style tendency of "gray",and the way of presenting "gray" in the picture.On this basis,the origins and roots of the "gray" style in “XinSong” is been analyzed.In the fifth chapter,firstly,the inheritance and development of the characteristics of the "gray" in“XinSong” in the works which are after it of Kang Ning is sorted out.After that,the author illustrates the development of "gray" in black and white woodcut in China after Kang Ning's “XinSong”with examples,and finally explains the position and significance of the "gray" in“XinSong” which been created by Kang Ning in 1984 in the development history of black and white woodcut in China on the basis of the full text.The author believes that the "gray" in Kang Ning's “XinSong” did not come out from nowhere,but was created under the interactive effect of himself and the domestic black and white woodcut development environment,and of course the "gray" is closely related to its time.In general,the characteristics of the "gray" in “XinSong”is mainly reflected in three aspects: first,the proportion of "gray" in the picture has been maximized;Second,the style tendency is to be plane and symbolic;The third is that the "gray" is presented through elaborate knife organization.The first point is most easily recognized,but the latter two are different.They are actually the externalization of pursuing of formal language which has been insisted by Kang Ning and the generation he represents after the "Cultural Revolution".The reasons why Kang Ning's works were able to exert great influence and occupy an important historical position are precisely because he have continuously studied the art,especially the black and white woodcut language through his works.Kang Ning and his works have been recognized by a large number of domestic printmakers,but at the same time,there is a lack of in-depth and rigorous research on his creations,as well as the “gray”of black and white woodcut.To use this research to clarify the contemporary significance of artists' creations and to dig into the thinking roots behind these breakthroughs is expected.Also,the purposes on basis of there digging include to strengthen the artist ‘s name,for later printmakers to provide examples,but also to make a contribution of completing the history of Chineseprintmaking.