The theme of the family in Soviet and Chinese woodcuts of the 1930s-1950s.

U Guanwen Postgraduate student, Department of Art History and Pedagogy of Art, Herzen State Pedagogical University 191186, Russia, Saint Petersburg, nab. Sinks, 48, room 6, room 51 wuguanwen@rambler.ru Other publications by this author

Chinese fine art differs significantly from classical European painting: he is characterized by a strong commitment to his artistic traditions and ideological foundations. The cultural heritage of China, its artistic forms, the specifics of artistic expression make it possible to understand the peculiarities of the aesthetic perception of the Chinese people, to comprehend the patterns of development of their artistic creativity in historical and ideological aspects.

Large studies of the artistic culture of China were conducted in Russia, in particular by N. A. Vinogradova ^[1]. The peculiarities of woodcut art and its significance for world culture are reflected in the works of Soviet scientists A. P. Zhurov and K. M. Tretyakova ^{[4, p. 67]}. N. A. Chervova was engaged in the study of modern Chinese engraving ^[7]. A significant contribution to the development of Chinese woodcut art was made by researcher Lu Xin (, 1881-1936) ^[10], artist and writer Chen Yanqiao (?, 1911-1970) ^[8].

Chinese and Soviet woodcuts are characterized by the greatest mutual influence and rich genre palette in the first half of the XX century. Soviet engraving gave a creative impulse, enriched the visual possibilities, brought new ideas to the Chinese art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving in the 1930s and 1950s, as well as to identify differences in the development of this art form in the two countries.

During this period of time, the art of woodcut in China and the USSR is receiving great development, primarily because it was possible to embody modern burning subjects, reflect attitudes 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 accessible to the masses ^{[5, p. 167]}.

Significant success at this time was expected by woodcuts on the theme of the family. The popularity of this topic in Chinese and Soviet woodcuts was explained by the fact that the post-war period formed a new look at many things among people of art, breathed fresh creative forces, enriched with new ideas, which could not but be reflected in graphic art and was brilliantly executed with the help of finely cut lines and a masterful play of light and shadow ^{[2, pp. 648-653]}.

Despite the fact that woodcut, as a rule, is limited in color, it allows the artist to show his creative style more clearly, paying more attention to the elaboration of details. This is especially noticeable in works on the theme of the family, since the engraving contributes to the display of 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 than in other genres of fine art ^[3].

The mutual influence of Chinese and Soviet graphics was discussed in the first decades of the XX century, and in 1936, thanks to the great efforts of the propagandist and collector of Soviet graphics Lu Xin, an art exhibition of works by Soviet masters of engraving was held in Shanghai. Chinese woodcuts 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 entered into a close relationship, which made it possible to enrich Chinese woodcut with a new and little-studied form, which was owned by Soviet engraving ^{[8, p. 34]}.

In the works of many graphic artists of the 30-50s of the last century, the military theme was still strong, but the authors began to show increasing interest in reflecting family themes and images in their works, in conveying simple human feelings, everyday life realities. All this was more typical of Soviet graphics, but some parallels with the choice of subjects were observed in Chinese woodcuts ^{[6, p. 593]}.

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

The strong similarity between Chinese and Soviet graphic works is evident in the themes of the image of the family and family values. Graphic artists of China and the USSR aspired to the most realistic expression of human feelings and experiences, to convey deep psychologism in relationships between close people. Graphics and woodcuts, especially thanks to a variety of linear and stroke techniques, contribute to the transmission of a wide variety of emotional human states. This is especially noticeable in portrait and small plot sketches, in strip book illustrations, as well as in satirical engravings of the first half of the XX century.

The search for new expressive means is especially characteristic of Chinese engravings of the 1940s. In this sense, the work of the artist-engraver Gu Yuan (1919-1996) is very indicative: his cycles of laconic, harsh engravings show the suffering of the people fighting for their rights and freedom. The engravings "Dying of Hunger" and "Selling a Daughter into slavery" from the series "The Past and Present of a Chinese peasant" (1942) combine the sharpness and laconism of the traditional manner of conveying images with a fundamentally new expressiveness of feelings.

Fig. 1. Gu Yuan. They are dying of hunger. Woodcut. 1942.

The engraving "Dying of hunger" (Fig. 1) depicts three dried trees, scorched sand of a deserted gloomy area, the silhouette of an exhausted woman bending over an emaciated child, a raven circling above them. In this small work, the tragedy of ordinary, innocent people is conveyed with extraordinary simplicity and intensity.

Gu Yuan's engraving "Complaint to the Government" (1942) is dedicated to a woman's struggle for her rights (Fig. 2). At that time, the Chinese government, which was engaged in reforming education, introduced various forms of teaching women to read and write in order to improve their cultural and educational level. Thanks to this policy of China, women's ideology gradually changed — from the initial tacit non-resistance to injustice to the struggle for their rights. The artist Gu Yuan felt these changes well and recorded them in his work. 

Fig. 2. Gu Yuan. Complaint to the Government. Woodcut. 1942. 

All the engravings of the Chinese artist differ in depth and expressiveness: in small-volume works using, as a rule, one-color ink, the master concisely and expressively draws images of people, clearly conveying the tension and acuteness of their feelings.

Among the largest Soviet graphic artists should be named A. I. Kravchenko (1889-1940), who also addressed the theme of man, the theme of the family. A striking example is the cycle of his works "The life of a woman in the past and present". His engravings are distinguished by a complex plot composition, every detail of his works is masterfully drawn. The artist's engraving "The Life of a Woman" (1928) depicts a young mother feeding a child in a field (Fig. 3). The world around her is filled with energy, the impetuous movements of the characters engaged in harvesting convey inner uplift and tension. However, in the image of a woman, in the position of her figure, calmness and tranquility are felt. Her head is slightly bowed, her hands are carefully holding the child, love and care for her children are visible in all this. The artist's admiration for the spiritual beauty and strength of a simple Russian woman is felt in the work.

Fig. 3. A. I. Kravchenko. A woman's life. 1928

A. I. Kravchenko skillfully reveals human emotions, dramatic experiences of the characters. The energy of the stroke, the rhythmic alternation of black and white, the richness of tone relations create expressive artistic images filled with romantic mystery, then deep tragic power.

The works of the famous Chinese engraver Li Hua (1907-1994) reflect the time of China's opposition to the Japanese intervention, they read a call for the unity of the people in the fight against the invaders. An example is the artist's engraving "Refugees", created in 1935-1936. (fig. 4). This work, which can be compared with a historical document, unbiasedly and concisely illustrates the life of a family in a very difficult period for the country.

The engraving depicts a family leaving their native places under the threat of a military invasion and going into the unknown. Artist with

Fig. 4. Li Hua. Refugees. Woodcut. 1935–1936

with the help of figurative forms, he was able to present a living, integral, real composition. The engraving reflects the anxious state of the characters in the picture. The figure of the mother-woman is bent forward, as if she is hunched under the weight of the hardships that have fallen on her family. A woman leads her children by the hands, their figures are turned back, they are a little behind the hurrying mother. In the images of children torn out of their usual environment, fear, confusion and misunderstanding are guessed. In front, men carry an elderly man on a stretcher; they walk, full of strength and determination to protect their families. The plot of the engraving is characterized by posters, it clearly suggests the call of people to fight for the liberation of their homeland.

Soviet artist L. A. Ilyina (1915-1994) in her engravings skillfully conveyed the characteristic features of the main characters, who were distinguished by external calmness, special plasticity and grace of figures. With this, the artist emphasized the noticeably increased role of women in society and the family. Whether she depicted the evening rest of women after a hard day (the series "A Word about a Kyrgyz Woman", colored linocut, 1958) or a girl who looked at the field expanse in momentary peace ("Beetroot", linocut, 1956), the inner rhythm of her works was significant and unhurried, the figurative structure was monumental. The artist was characterized by an energetic, courageous manner of writing, a large stroke, decorative integrity, structural compositions. So, using all these techniques, in the work "Beetroot" L. A. Ilyina was able to convey the mental state of the main character depicted in a moment of rest (Fig. 5). The girl stands with her head held high, her shoulders straightened, her gaze is directed into the distance, spiritual strength, confidence and dignity are felt in her whole appearance. 

Fig. 5. L. A. Ilyina. Beetroot soup. Color engraving. 1956. 

The works of the Chinese master Chen Yanqiao (?;; 1911-1970) are mainly black and white woodcuts showing the life of ordinary working families. In his works, the artist reflects the character of people, their perseverance and determination in work. Work is what unites, educates in the spirit of camaraderie and mutual assistance. The artist's engravings are characterized by realistic techniques and simple style.

As one of the examples of such works, we can name the woodcut "Out of Town", created in 1933 (Fig. 6). In this work, the viewer does not see the faces of the characters, there is also no special plastic of the bodies. The artist tries to convey the meaning of the picture to us by depicting the actions of the characters. We see that each member of the family shown in the picture has his own occupation, everyone tries to benefit his family. The life of these people is simple and uncomplicated, but they are distinguished by perseverance and hard work. Chen Yanqiao inextricably links the well-being of the family with the desire to work ^{[8, p. 34]}.

Fig. 6. Chen Yanqiao. Outside the city. Woodcut. 1933. 

In the 1940s and 1950s, many Chinese artists returned to the traditions of decorative folk splints, which had long been loved by peasants ^{[9, p. 76]}. The revived lubok artlessly and vividly, proceeding from the decorative and figurative techniques established by tradition, told the peasants of the areas liberated from the Japanese invaders about all the events in the country, replacing the illiterate population with a newspaper and attracting everyone's attention with its smartness and entertainment. An example of such a splint is an engraving by the artist Li Qun (, 1912-2012) "Abundance of clothes and food" (1944).

Fig. 7. Li Qun. Plenty of clothes and food. Woodcut. 1944.  

This engraving is characterized by careful drawing of details of images and images of the background. The work is distinguished by a special plastic beauty, clearly defined and expressive silhouettes, fine stroke technique. The artist managed to organically combine the ancient Chinese manner of image with modern and burning themes of engravings. The plot reflects the well-being of a Chinese family in the post-war period. Smiles are visible on the faces of the mother and father of the family, their bodies are relaxed and in a comfortable state. Children are also joyful and carefree. There is a kindred warmth and contentment in everything. In the background, a huge basket filled with fruit is visible, symbolizing the prosperity and abundance of the family. The technique of folk splint with its characteristic bright and colorful decorative solutions helps to convey the expressive plot of the engraving.

Thus, it can be said that artists both in the USSR and in China associated the theme of the family with eternal universal values, such as kindness, care, love, motherhood, work, etc. Chinese and Soviet woodcuts were characterized by a special dynamic, lively and pulsating rhythm of engravings. In the works of Chinese masters, the direct borrowing of the style of Soviet engravings was noted. Artists of both countries used similar techniques: bright silhouette images, laconism, simplicity and grace, expressively found strokes, which created unique images. Contemporaries full of vital energy, strength and determination were depicted as the main characters of the family theme.

    At the same time, there were differences in Soviet and Chinese engravings. Graphic artists sought to preserve their national style while remaining modern and innovative. Many works by Chinese artists are laconic. There is no pronounced facial expressions, body plasticity in them, the artist could present a living, integral composition with the help of figurative forms. The engravings of Soviet artists are characterized by a complex plot composition, while every detail in the work was carefully drawn. Soviet engravers conveyed the characteristic features of the main characters with the help of emphasized facial expressions, plastic figures, and age. In addition, it should be noted that 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. While the Soviet graphic artists mostly tried to cover the maximum of the working surface.

The engravings of Soviet masters depicting the family had a significant impact on Chinese woodcut art, which, in particular, helped Chinese artists to embark on the path of realistic depiction of reality. At the same time, Chinese artists gradually turned to their national heritage, since the broad masses of the people did not understand the engraving, completely devoid of national specifics, those familiar figurative forms that the people continued to live and think.