The Pioneer Of The Creation And Teaching Of New China’s Copperprint

Since the New China,the creation of contemporary Chinese copperplate has experienced a new stage from its germination to its development.As a part of the world’s copperplate art,Chinese contemporary copperplate has both the characteristics of contemporary Chinese humanities and the commonality of traditional Western art.Chen Xiaonan is the pioneer and founder of Chinese contemporary copperplate.As one of the first international students to specialize copperplate,he was sent to England and became one of the first artists in new China to master the techniques of copperplate.In terms of creation,Chen Xiaonan combined socialist themes with Chinese characteristics,traditional Chinese painting language and Western copperplate techniques,making exemplary creative practice for copperplate in China.In terms of teaching,Chen Xiaonan first helped the Central Academy of Fine Arts build China’s first copperplate studio and laid the foundation for teaching after his return to China,and reassigned to the Guangzhou Academy of Fine Arts to establish a copperplate studio and enroll graduate students in copperplate painting.Chen Xiaonan’s contributions to the two art academies have directly influenced the development of copperplate at the north and south ends of China.Using case studies,image analysis and art sociological analysis as research methods,the text uses Chen Xiaonan’s artistic creation of copperplate prints,his copperplate teaching activities and the copperplate teaching materials he compiled as the main research content to explore the development and evolution of a local and nationalised formal language in the creation of contemporary Chinese copperplate prints,represented by Chen Xiaonan.This paper integrates Chen Xiaonan’s textbooks and teaching achievements,and then sorts out the evolution of Chen Xiaonan’s creative style.The significance of this paper is: to analyse the historical background of the development of copperplate teaching in new China.It clarifies how copperplate painting since New China has inherited traditional culture and absorbed foreign culture to develop itself,and then provides theoretical support for the practice of contemporary Chinese copperplate painting.