刀尖上的技艺：云南“绝版木刻” | Skill on the Tip of a Knife

A rare form of woodcut art. File photo 

让人称道的绝版木刻艺术。资料图

What do you think of when you hear "Yunnan"?Is it the peacock flying to the southeast? Is it an elephant strolling in the rainforest? Is it a dancing minority girl? Or its fascinating biodiversity?

当我们谈起“云南”的时候，你能想到什么？是东南飞的孔雀？是悠然漫步于雨林的大象？是翩然起舞的少数民族少女？还是令人着迷的生物多样性？

In fact, in addition to these, there is also a special art form from Yunnan—the mimeograph chromatic woodcut printing.

事实上，除了上述这些，云南还有一种刀尖上的艺术——云南绝版木刻版画，同样让人称道。

The Fifth of Journey to the South: Return from the Mountains. File photo

作品《南行记之五·山外归来》。资料图

On the afternoon of January 23, 2022, an academic lecture on the genealogy of printmaking was held on the 8th floor of Kunming Contemporary Art Museum’s exhibition hall.

2022年1月23日下午，“谱系”版画说的学术讲座在昆明当代美术馆8层展厅举行。

The exhibition, "Genealogy—Yunnan Printmaking since 1978", is co-organized by Yunnan Arts University and Kunming Contemporary Art Museum and supported by the Yunnan Artists Association Printmaking Art Committee. It reviews the development and academic achievements of Yunnan printmaking in the past 40 years, presenting the pictorial landscape and creative ecology of Yunnan printmaking to the audience.

这次由云南艺术学院、昆明当代美术馆共同举办主办，云南美术家协会版画艺委会协办的展览：“谱系——1978年以来的云南版画”，梳理了云南版画40年的发展与学术成就，为广大观众呈现了云南版画40年的图像景观和创作生态。

Lu Xun once said, "Chinese woodcut printing has a very significant history from the Tang Dynasty to the Ming Dynasty." The earliest Xian Tong printmaking work in China, The Vajra Prajna Paramita Sutra, was made in the ninth year of Yizong of the Tang Dynasty (868). While The Namo Sakyamuni from the Liao and Song Dynasties was the earliest colored overprint printmaking found in China. Since the Ming and Qing Dynasties, the Jian'an School centered in Jianyang of Fujian Province, the Jinling School centered in Nanjing of Jiangsu Province, the Wuling School centered in Hangzhou of Zhejiang Province, and the Hui School centered in Huizhou of Anhui Province had led the way in the history of printmaking art and have been influential for generations. In the 1930s, the new woodcut movement, with Lu Xun at the forefront, led the artistic trend of the New Culture Movement in the period after the May 4th Movement, being "the spear and dagger of the Chinese revolution ".

鲁迅先生曾说：“中国木刻版画，从唐到明，曾经有过很体面的历史。”中国最早版画咸通本《金刚般若波罗密经》作于唐懿宗九年（868年），辽宋时期《南无释迦牟尼佛像》是中国发现最早的彩色套印版画。明清以来，以福建建阳为中心的建安派，以江苏南京为中心的金陵派，以浙江杭州为中心的武陵派，以安徽徽州为中心的徽派在版画艺术史上各领风骚，流芳后世。20世纪30年代，以鲁迅先生为旗手的新木刻运动作为“中国革命的投枪与匕首”，引领了五四以来新文化运动的艺术风尚。

In contrast, Yunnan’s mimeograph chromatic woodcut printing does not have such a long history.

而云南绝版木刻没有那么长的历史。

Yunnan Pu'er mimeograph chromatic woodcut printing emerged first in the 1980s. After more than 30 years of development, it has now become one of the most important printmaking schools in China.

上世纪80年代，云南普洱绝版木刻创作开始，历经30余年发展，现已成为中国重要的版画流派之一。

Wandering. File photo

作品《闲游乱逛》。资料图

As a letterpress technique developed on the basis of the traditional colored woodcut, the mimeograph chromatic woodcut not only reflects the ethnic flavor of Yunnan printmaking, but also maximizes the artists' room for expressing individuality and talent. It has greatly enriched the creative language and expression techniques of printmaking, laid an important foundation for the rise of Yunnan printmaking, and become one of the most important art forms in contemporary printmaking. It concentrates all the colors of a painting on one plate and it is done in a decreasing way by printing while engraving, and is therefore also called "reduced plate method".

作为在传统套色木刻基础上发展起来的一种凸版技法，绝版套色木刻既反映了云南版画的民族风情面貌，又最大限度地发挥了艺术家的个性与才华，极大丰富了版画的创作语言和表现技法，为云南版画的崛起奠定了重要的基础，成为当代版画创作最重要的艺术形式之一。它是将一幅画所有的色版都集中在一块版上，采用边刻边印逐版递减的创作方式来完成的，所以又可称之为“减版法”。

Because the process of engraving prints in this way is a process of natural destruction that cannot be reversed, the original plate can no longer be printed after the work is completed. Therefore, it is usually called mimeograph chromatic woodcut printing, different from the traditional sub-plate overprinting method.

因用这种方法刻印版画的过程是自然毁版的过程，无法逆转，作品完成后原版已无法再印出作品，因而通常称之为绝版油印套色木刻版画，区别于传统的分版套印法。

When talking about "Yunnan mimeograph chromatic woodcut printing", He Kun, deputy director of the Printmaking Art Committee of the Chinese Art Association, researcher of the Chinese National Academy of Painting and honorary chairman of the Yunnan Artists Association, said, "Our woodcut printing in Yunnan has chosen a path different from the rest of the world when it comes to printmaking techniques, which is an important contribution of Yunnan people to the world’s art and culture."

在谈到云南绝版木刻版画时，中国美协版画艺委会副主任、中国国家画院研究员、云南省美术家协会名誉主席贺昆说：“我们云南的木刻版画在版画技术创作当中选择了一条和全世界不一样的道路，是云南人对世界美术文化系统的重要贡献。”

When trying to explain the uniqueness of Yunnan mimeograph chromatic woodcut printing, Guo Hao, dean of Yunnan Arts University, second-class professor and doctoral supervisor, said, "Yunnan mimeograph chromatic woodcut printing belongs to Pu'er, China and the world. Its greatness lies in reversing the production process of printmaking, so that the artist is no longer a slave to infrastructural reproduction. This makes printmaking freer and closer to the creative process of painting, realizing a new way of creation."

云南艺术学院院长、二级教授、博士生导师郭浩在谈到云南绝版木刻版画的独特性时说：“云南绝版木刻版画是普洱的，也是中国的，更是世界的。它的伟大之处在于把版画的制作过程颠倒过来，让画家不再是一个基建复制的奴隶，让版画更利于自由发挥，更接近绘画本身的创作过程，带来了一个崭新的创作方式。”

Zhang Xiaochun, a member of the Chinese Artists Association and the Chinese Printmakers Association, argues that one of the biggest development features of Yunnan mimeograph chromatic woodcut printing is the integration of western modern art styles with local concepts, languages and humanistic national spirituality into the creation process of mimeograph chromatic woodcut printing.

中国美术家协会会员、中国版画家协会会员张晓春介绍，云南绝版画最大的特点就是把西方现代艺术风格和本土观念、语言风格、人文民族精神化的东西融入到绝版木刻版画的创作过程中。

Wei Qicong, who has been engaged in printmaking for many years, participated and won awards for many of his works in domestic and international printmaking exhibitions, and whose works have been collected by many domestic art museums, stated that, "The printmaking created in Yunnan in the 1980s is still very expressive today, and its creation is the result of an era."

多年来从事版画创作，多件作品参加过国内外版画展并获奖，作品被国内多家美术馆收藏的魏启聪介绍：“云南上世纪80年代创造出来的版画作品，即使现在看来也仍然有很强的表现力，它的创作是一个时代的结晶。”

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