The Chinese Woodblock

Like paper, wood block printmaking was developed in China. The worldwide oldest known woodblock book, the diamond-sutra from Dunhuang, dates from 868, is so highly advanced in technique, that it must be proceeded from a much earlier development.
The first motives were religious. For believers in Buddhism pictures of saints and amulets were reproduced this way. During the Song period (960-1278) richly illustrated books were published.
In the Ming period (1368-1644) woodblock printing was used for art purposes with the reproduction of colour ink washes, letter- and poetry papers. A famous example of this is the " Ten Bamboo Studio Collection", published 1622 - 1627 from Hu Cheng Yen (1582? - 1672?).
However woodblock printing in China was not considered to be a separate form of art, and only just used for exact copying of existing paintings.
This changed in the beginning of the 20. century, when artists began to make their designs and to cut their woodblocks themselves. In the 30ies, the intellectual Lu Xun initiated a woodblock movement, by introducing woodblock as a medium for enlightenment and political expression. Prints of Käthe Kollwitz, presented by Lu Xun in China, had strong influence on the woodblock printmaking of that time. There were many black and white prints created that were critical of society. In the 40ies, based on the political directives, the woodblock started to lean on the social realism. In the following years it was mainly used as means of propaganda.
Today, in the lively Chinese printmaking scene, the woodblock print is done in various ways: with the use of oil- and water-based inks, and with several different registration systems.
The following introduction of woodblock printmaking refers to the traditional woodblock, which is still practiced in some studios.

Technique

Wood

Mostly pear is used, preferably of the huge trees from Shandong, however jujube is used as well.

Transfer

The design is done on a special thin paper. For transferring it to the block, the block is rubbed with rice paste and the front side of the paper is pasted on quickly from on side. Afterwards the back of the paper will be rubbed off very carefully by hand, until only the painted lines remain on the block.

Cutting the blocks

Cutting is done with a special fist knife (quan dao). This knife is perfectly fitted to the fist of the user. It is known from the Tang period (618 - 907).

It is grinded in bow form and has two points. With the front point the lines are cut, with the back point the remaining wood at the cut is scraped or pushed away.

This way very detailed parts of the block can be cut exclusively with this knife. For less detailed parts gouges are used in addition.

As opposed to the Japanese and Western woodblock, the different details of a design are not cut into a single block but divided onto several different small blocks, which are fixed to the right position at the printing table.

This is done with a resin, which is flexible while warm, and keeps the blocks in place after hardening.

Printing

For printing, the papers which should be printed are attached on the edge right beside a gap in the printing table under a slat and then flipped over to the right. Left of the gap the blocks are fixed onto the table with the resin. The right position of the blocks is found by feeling through the first of the attached papers.
For every printing the blocks have to be inked with a special printing brush (see below). Sometimes the ink is also diluted with another brush for the effect of washes. After that, one of the papers is flipped over them and rubbed with a tool (see below). The condition of the ink (concentrated, diluted, very wet, almost dry, pasty) and the pressure while printing can have a strong effect on the result.
After printing the paper is dropped into the gap. When all the papers are printed and dried, the printing of the next color can start.
Printing is done on dry paper or silk.

Traditionally inks made of plants are used, which are thinned to the wished intensity with water.
The printing brush is made from palm leaf fibers.

The tool for printing is a piece of wood covered with palm leaf fibers and horse hair on top of that.

I want to thank Mr. Lu Zhiping for organizing the demonstration at the Peninsula Art Center Shanghai and Mr. and Mrs. Lu Qinghua for demonstrating the techniques and the permission for publishing their copies of antique prints here.

Eva Pietzcker, 2003

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