or idiosyncratic visual language that would be associated with various modernist schools and that Tang â Echoes of Roar, China! Figure 2 Lai Shaoqi, Roaring China, 1936, woodblock print, 12 3 11.5 cm. Reprinted from Banhua jicheng (Landmarks in Prints) (Shanghai and Nanjing: Lu Xun Jinian guan and Jiangsu Guji, 1991) would undercut a claim to realistic representation. In all these aspects the Second National Exhibition was remarkably consistent with its predecessor, the first National Joint Woodcut Exhibition that took place in Beiping in January 1935. One striking feature of the second exhibition that originated from Guangzhou, compared to the first exhibition, was the fascination with what Li Huaâs print Roar, China! explored both thematically and formally. At least ten artists, judging by the exhibition catalog published in the accompanying Field of Woodcuts, contributed about fourteen prints that sought to depict a collective and reverberating voice. This fascination with an aural experience and expression, for instance, is central to Tang Yingweiâs Outcry and Womenâs Voice, Hu Qizaoâs Angry Roar, Lai Shaoqiâs Roaring China (fig. 2), and many other works. The reach of Roar, China! went far beyond the exhibition of 1936. The positions 14:2 Fall 2006 print has
positions asia critique – Duke University Press
Published: Sep 1, 2006
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