Mutual Influence of Woodcut Art of China and the USSR

Against the background of the processes of globalization taking place in the world, the issues of studying and preserving national cultural heritage are becoming especially relevant. This also applies to the unique art of China, which is based on the rich national traditions of the past and the best world art samples.Chinese fine art differs significantly from classical European painting:

he is characterized by a strong commitment to his artistic traditions and ideological values. The cultural heritage of China, its artistic forms, the specifics of poetic expression make it possible to understand the peculiarities of the aesthetic and spiritual perception of the Chinese people, to comprehend the patterns of development of their artistic and visual creativity in historical and ideological aspects.

In the middle of the XX century, both in China and in the USSR, there was a noticeable rise in the development of the art of woodcut and in the creation of engravings on current topics. The great popularity of woodcuts and engravings was explained by the fact that the post-war period gave people of art new themes and a new look at many things, breathed fresh creative forces into them, enriched them with new ideas. All this could not but be reflected in graphic art and was brilliantly embodied by both Chinese and Soviet masters in their works with the help of finely carved lines and a bizarre play of light and shadow.

As a rule, woodcut is monochrome, thereby it encourages the artist to pay more attention to the elaboration of details – in this, in particular, his unique creative style is manifested. In addition, the engraving helps to display momentary states, helps to capture the plot in a succinct and concise form. In it, space and time can be shown in a completely different way, compared to other genres of fine art.

Great research in the field of woodcut was carried out by Russian scientists, in particular N. A. Vinogradova ^[1], who studied the fine arts of China. The features of woodcut and its significance for world art culture are reflected in the works of A. P. Zhurov and K. M. Tretyakova ^{[3, p. 67]}. N. A. Chervova was engaged in the study of modern Chinese engraving ^[4]. A significant contribution to the development of Chinese woodcut art was made by the writer Lu Xin (, 1881-1936) ^[8], as well as the artist and writer Chen Yanqiao (?, 1911-1970) ^[9].All researchers noted the great importance of woodcut art for the artistic culture of China and the USSR in the middle of the XX century.

This was due, first of all, to the fact that it was possible to embody modern, exciting stories, to reflect the attitude to the most relevant topics of that period. In addition, a large number of prints created on the basis of engravings made it possible to distribute many masterpieces of fine art that have become world-famous, making them as accessible as possible to a wide range of people.

The noticeable mutual influence of Chinese and Soviet graphics was first mentioned at the beginning of the XX century, and in 1936, thanks to the great efforts of propagandist and collector of Soviet graphic works Lu Xin, an art exhibition of Soviet prints was held in Shanghai. As a result, Chinese woodcut artists and the broad masses of people were able not only to get acquainted with Soviet graphics, but also to purchase prints of their favorite works. It can be said that since that time, Chinese and Soviet graphic art has embarked on the path of close interrelation, which made it possible to enrich Chinese woodcut with a new and little-studied form, which was owned by Soviet engraving ^{[7, p. 34]}.

In the middle of the twentieth century, many graphic artists continued to be concerned about military subjects, but the authors began to show increasing interest in reflecting themes and images of nature in their work, in conveying simple human feelings, everyday and understandable joys of life. At the same time, artists continued to turn to prints and poster forms of expression, especially characteristic of wartime. All this was more inherent in Soviet graphics, but some parallels with the choice of subjects were observed in Chinese woodcuts.

At that time, Chinese woodcut, with its inherent rather strong restraint in its approaches to displaying certain subjects, was noticeably different from the already freer Soviet graphics, which sought to individualize the author's view. Nevertheless, in the main areas, Chinese and Soviet woodcuts and graphic artists still found common ground. And first of all it concerned the subjects of their works.

Chinese and Soviet graphic works demonstrate a distinct similarity in the subjects devoted to the image of a person, the most realistic display of his feelings and experiences, the transfer of deep psychologism in the relationship between people. And very often all this is shown against the background of great historical changes and upheavals that took place in both countries. Graphics, especially woodcuts, thanks to a variety of linear and stroke techniques, contributed to the reflection of all these, the most diverse emotional states of a person. This is especially evident in portrait and small plot sketches, in strip book illustrations, as well as in satirical engravings of the mid-20th century. In addition to the theme of man, images of nature and everyday scenes were common to the work of Chinese woodcutters and Soviet engravers, in the image of which similar features are also found.

A good example is the work of the Chinese artist-engraver Chen Yanqiao (1911-1970), in particular, his most famous works "Foziling under Construction", "Lu Xin and his partners" (both works are in the collection of the National Art Museum of China) and "On the Huangpu River" ^[9]. Chen Yanqiao's works are mostly black–and-white woodcuts created in a realistic technique. Using a simple style, the artist, as a rule, shows the life of ordinary workers. Thus, the engraving "Out of Town" created in 1933 (Fig. 1) reflects the characters of people for whom daily, from morning to evening, hard work is the norm of life. Work is something that serves a common goal and unites people, educates them in the spirit of camaraderie and mutual assistance. The ideal of beauty and well-being for an artist is inextricably linked with the idea of work.

 Chen Yanqiao is also the author of many books, including "Lu Xin and Woodcut", "New Chinese Woodcut", "Shanghai Art Movement", "Yanqiao Woodcut Collection", etc.

Fig. 1. Chen Ancao "out of town" (woodcut). 1933

The heyday of the work of renowned Chinese master prints, teacher, art, Jan Han (1916-2011) are in the war years, as well as the turbulent times of the Cultural revolution. Yan Han left a great work, which was reflected different periods in the development of China, in total covering almost century-long history ^[10].

Despite the fact that in 1957, Yan Han was heavily criticized and harassed by the political power, he did not change his vocation. His engraving "the Old shepherd" (Fig. 2) is proof of that. It depicts the shepherd protecting the lamb. His expression shows stress, anxiety and at the same time determination. He firmly and carefully holds the helpless creature, ready at any moment to resist. The picture is filled with anxiety, feelings of danger, a willingness to take decisive action. The artist tried to convey their wealth in the difficult for the country and for him personally time: at the same time disturbing and giving hope. Prints Yan Han reflect his strong attachment to his native land and inextricably linked with its history.

Fig. 2. Yan Han "Old shepherd" (woodcut). 1957

The influence of Soviet and Chinese woodcuts manifested, in particular, in the changed Soviet graphs with respect to the intricacies of conducting lines, the image of the second plans, filigree technique in the portrayal of the details, etc., i.e. everything that was originally peculiar to the Chinese woodcuts. In this sense, we can note the Mature works of Vladimir Favorsky (1886-1964), who are particularly plastic beauty, deep philosophy, clearly defined and expressive silhouettes phenomenal thinnest stroke technique. All these elements strongly resonate with the characteristics of Chinese woodblock prints ^{[2, p. 648-653]}. A striking example is the work of V. A. Favorsky "Herd under the tree" (Fig. 3).

Fig. 3. V. A. Favorsky "Herd under the tree." 1943

Chinese woodcuts, which influence not only on the Soviet graphics, but also the whole world of art, it should be noted the Mature works of outstanding Chinese artists Qi Baishi (1860-1957) and Xu Bahona (1895-1953), which is particularly famous for his works in the technique of "Guo Hua".

Xu Beijun was one of the advocates of Soviet art. He was friends with many Soviet artists, sharing creative discoveries ^[1]. Xu Bahun wanted to change and was in constant search of new bright ideas. Among his achievements is the constant assistance to young talented artists, who in the 1930-ies have tried to create a new skill and fought for freedom of expression.

Qi Baishi is considered a master of landscape, in addition, he liked to portray flowers and birds. In his prints, a significant place is given to the display of peasant life, beauty, and light the world of nature. The merit of the artist lies primarily in the fact that he first attempted to depart from the generally accepted canons of Chinese woodcuts, showing great creative freedom and desirous of finding your own individual style. It is expressed primarily in the rejection of elitism, refinement of the depicted characters. Qi Baishi wanted to be closer to the people, to be more understandable and in demand among the masses ^[1].

Qi Baishi was a masterful work on a white sheet of paper that could have several black ink lines capture the depth of the water, calm and quiet surface of the river, show the freshness and juiciness of freshly picked vine, etc. Very expressive in this respect, his painting "Crab and carp" (Fig. 4).

Fig. 4. Qi Baishi. Crab and carp. Scroll on paper. Coloured ink. 1952. Prague, national gallery

However, the middle of the twentieth century in the life of both China and the USSR was marked by new socially significant events, and fine art also had to go a new, modern way. Time demanded from artists a more realistic manner of portrayal, addressing socially significant topics, showing the life and work of workers, milkmaids, collective farmers, rice collectors, etc. Although the themes of war and the return to peaceful life were still relevant, urban plots became increasingly in demand. The poster style has regained its former popularity. The art of engraving in this regard was widely popular. During this period, such Chinese woodcuts as Jiang Zhao-he, Ye Qian-yu, Zhang Ding, Pan Yun, Pan Tian-shou, Xu Beihong, Qi Baishi, etc. showed themselves especially vividly ^[1].

The landscapes of A. A. Ushin (1927-2005) closely echo the works of Chinese colleagues, who was distinguished by an active, dynamic presentation of the urban landscape, virtuoso transmission of chiaroscuro. The artist generally paid great attention to light contrasting elements, as evidenced, for example, by his linocut "Suite on Wires" (1960).

The innovation of young Chinese woodcuts consisted in the organic combination of traditional national manner and calligraphic painting with modern and exciting subjects in their works. It often happened the other way around: the image was, for example, a wall painting or an engraving on glass, and the subjects were taken from an old folk splint, with its characteristic bright, colorful decorative solutions.

It cannot be argued that the art of graphics of the mid-20th century developed only in the plane of realism and urban themes prevailed in the works. Of course, the artists of both the Soviet Union and China turned to the eternal universal themes of the meaning of life, good and evil, love, family happiness; children's themes were very popular. The lyrics and poetics of these themes remained a special side, in the display of which the creative individuality of the authors of the engravings was very clearly manifested.

Summing up, it can be argued that Chinese woodcut and Soviet engraving of the mid-20th century had common features, which were primarily due to the appeal to similar subjects and themes. In addition, both countries were actively developing new types of techniques, such as lithography, offset linocut, etc. Both Chinese and Soviet woodcuts were characterized by a special dynamic, lively and pulsating rhythm. In the works of Chinese artists, direct borrowing of the handwriting of Soviet engravings was noted. Artists of the USSR and China used common techniques – bright silhouette images, laconism, simplicity and grace, expressive strokes – which allowed them to create unique images. The main characters of the engravings were mostly contemporaries, full of vital energy, labor enthusiasm, ready for decisive action.

       At the same time, it should be noted the differences that exist between Soviet and Chinese engravings. They consisted primarily in the preservation by graphic artists of their national style, despite their common desire to create modern and innovative works. In addition, many Chinese woodcuts in the middle of the XX century still retained the characteristic tradition of a white sheet, that is, a sheet of paper was often not filled with an image completely. Whereas Soviet graphic artists, as a rule, used the work surface as much as possible.