Author(s)

Zhuzhi Liu ¹, Hushinaidi Bin Abdul Hamid ¹, Ke Fu ²

Affiliation(s)

¹ Faculty of Creative Industries, City University, Kuala Lumpur, Malaysia
² College of Media, Guizhou Minzu University, Guiyang, China

Corresponding Author

ABSTRACT

Sichuan folk woodcut motifs are a kind of culture derived from the combination of the nature of human farming, aesthetics and instincts during the period of developed farming culture in China, with the characteristics of simplicity, conciseness, vividness and innocence. This article focuses on the Sichuan folk woodcut explore to combine the traditional folk art form and the contemporary art. Woodcut prints, as a category of printmaking, have a long history, with the earliest woodblock prints dating back to the Sui and Tang dynasties in China. Using reduction cutting print, the more plates the richer the colour and level, but never the more the better, a reasonable plate not only can save the board, but also for the back of the printing to bring convenience, improve efficiency.

KEYWORDS

CITE THIS PAPER

Zhuzhi Liu, Hushinaidi Bin Abdul Hamid, Ke Fu, The development of China Sichuan folk woodcut motifs using reduction cutting print. Art and Performance Letters (2023) Vol. 4: 27-31. DOI: http://dx.doi.org/10.23977/artpl.2023.040805.

REFERENCES

[1] He Dong & Li Ziji. (2018). Rooted Folk Sichuan New Year Paintings—A Brief Analysis of the Expressions of Mianzhu, Liangping and Jiejiang New Year Paintings. Art Education Research (07), 43.
[2] Wang Feike. (2022). Colour overprinting in the creation of oil-printed overprint woodcut. Art Appreciation (17), 81-84. 
[3] Emily Howard. (2019) .Block print magic. The essential guide to designing, carving, and taking your artwork further with relief printing.
[4] Qi Longhua. (2021). The art of woodblock print overlay woodcut. Tomorrow's fashion (01), 81-82. 
[5] Yu Wufeng. (2022). Research and Application of Subplates in Chinese Overlay Woodcut Prints. Journal of Nanjing Art Institute (Art and Design) (04), 188-193.
[6] Hua Qiyao. (2019). Analysis of the differences between Mianzhu New Year's paintings and Japanese ukiyo-e. Western Leather (23), 64.

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