2月16日至24日，英国王储传统艺术学院举办“十竹斋木版水印艺术传承”文献作品展，十竹斋木版水印非遗传承人魏立中在展览期间向学员传授木版水印技艺。木版水印专业学名为“古代彩色版画印刷术”，集绘画、雕刻、印刷于一体，是对中国书画精品进行高仿真复制的传统工艺。

　　2月24日，在英国伦敦英国王储传统艺术学院，学员学习木版水印技艺。新华社记者韩岩摄

　　同一时期，中国传统水印木刻版画展在伦敦Sunny Art Center开展。春节期间，FA孚爱国际艺术教育中心学术主管金嵩敏跨越八千公里的距离，来到英国伦敦联合Sunny Art Centre，用中国的传统文化——水印木刻版画展，与西方进行了一场穿越千年的别样对话。来自英国皇家雕塑家协会会员Dawn Rowland、Glynis Owen，英国伦敦艺术大学中央圣马丁艺术与设计学院教师Caroline List、Mario Rossi等Sunny Art Award的评委莅临开幕现场，在隆重喜庆的中国传统节日里感受水印木刻版画不一样的魅力。

　　腾讯视频：https://v.qq.com/x/page/q0372j5da9j.html

　　本次参展的艺术家有来自中国中央美术学院传统工作室的卢平老师，以及青年“80后”艺术家鲍涛、崔德政。本次展出的作品有世界上第一张现存有年代可考的版画——公元868年《金刚经》扉页画《说法图》的复制版印刷的版画。《说法图》木刻版是由技工根据画家画稿刻印出来的版，原版现存于伦敦大英图书馆。卢平老师授权将原版修复复制，复制版存于中央美术学院美术馆，此次展示这幅复原版画。

　　中国传统的水印复制木刻是由技工刻印画家的画稿而成，技师只用一把刀完成整个版的刻制。版画这项技术从唐代起就很发达，至明万历、天启年间，技术更为精美。当时《十竹斋书画谱》的刻工们发扬水印的彩晕墨化的手法，成就尤为显著。

　　本次展览分为三个部分——中国古代版画、现代经典与当代木刻。现代经典部分展出的是中国60年代至80年代的木刻，即以刀代笔、放刀直干，不模仿、不复制，使作品具有时代特征，这时期的木刻多以油印为主。而在当代木刻部分，则是由两位“80后”青年艺术家选择继续使用中国最传统的水印木刻的技法，来呈现当代的绘画观念。

　　策展人金嵩敏介绍，水印木刻版画具有不可比拟的特殊性。首先，当颜料粉刷在模板上时，必须立即印刷，否则颜料将会在3秒钟内干掉而无法印刷，所以在制作水印木刻版画时，必须当机立断;其次，每版印刷只能填涂一个颜色，所以现场所展出的色彩斑斓的当代版画，均需要多次印刷，这导致成品产出量非常低;同时，因为每一版印刷都不尽相同，充满了偶然性与不可复制性，这也为水印木刻版画作品增添了妙不可言的趣味。

　　虽然中国是世界上最早制作版画的国家，但人们提到版画，最先被想到的却是日本的浮世绘。金嵩敏表示，此行的目的就是希望让更多的人了知道中国才是水印木刻版画的发源地，不仅能把中国的文化带到海外，更能让中国人发扬继承优秀传统文化。

　　策展人：金嵩敏

　　参展艺术家：卢平/鲍涛/崔德政

　　展览时间：2017年2月1日至21日

　　展览地点：Sunny Art Center，30 Gray‘s Inn Road，London，WC1X8HR。

　　延伸阅读：

　　新青年老手艺•水印青春_《新青年老手艺》系列_视频_央视网

　　荣宝斋木版水印：“85后”遭遇老手艺?如何演绎水印青春

　　公元868---2017年•穿越千年的对话——中国传统水印木刻版画

       中国千年版画技艺2月1日惊艳伦敦

　　发布时间： 2017-02-10 07:42:35 来源：欧洲时报英国版

　　本次参展的艺术家有来自中国中央美术学院传统工作室的卢平老师，以及青年“80后”艺术家鲍涛、崔德政。

　　公元868 —— 2016 穿越千年的对话

　　—— 中国传统水印木刻版画

　　http://www.sunnyartcentre.co.uk/traditional-chinese-watermark-woodcut-prints-exhibition/

　　A Dialogue Through Centuries – Traditional Chinese Watermark Woodcut Prints since AD 868.

　　Starts: Wednesday 1st February 2017

　　Ends: Tuesday 21st February 2017

　　A Dialogue Through Centuries – Traditional Chinese Watermark Woodcut Prints since AD 868.

　　Exhibition: 1st - 21st February 2017

　　Opening Reception: 1st February 2017, 6 - 9pm

　　Curator: Jin Songmin

　　The earliest form of printmaking is the woodcut watermark duplicated print. The world's first existing print is in the Diamond Sutra, made in the 9th year of Xiantong Period of the Tang Dynasty (AD 868), which is now in the British Library, London. Professor Lu Ping from the Central Academy of Fine Arts authorised the repair and copy of the original version. The duplicate, which is to be exhibited, is now in the art gallery of the Central Academy of Fine Arts, China.

　　Chinese traditional watermark woodcuts were engraved by craftsmen who followed a design by an artist. One knife would be used to carve the entire plate. The technique was already advanced during the Tang Dynasty, yet became more sophisticated throughout the Wanli and Tianqi Periods of the Ming Dynasty. During the Ming Dynasty, the books and paintings of the Ten Bamboo Rooms revealed the best of the ink’s permeability in the halo of colours.

　　This exhibition is divided into three parts:

　　Chinese ancient print

　　2,000 years after the original was created, Lu Ping’s version of the Diamond Sutra has restored the defects existing in the original version. Walk into the British Library and Sunny Art Centre to have a conversation with time, and to discover the traditions of Chinese printmaking within a British context.

　　Modern classics

　　Between the 1960s and 1980s, artists began to work without preliminary designs. Instead, they used knives directly on the wood. Without the design in pen, imitations or copies were difficult to produce. Instead, prints were achieved using a mimeograph, resulting in different effects from previous techniques.

　　Contemporary woodcut

　　After 1980, artists, including Bao Tao and Cui Dezheng who are to be exhibited, continued to use the traditional technique of watermark woodcut. In particular, Paint was applied to each plate individually, resulting in unique designs. If we consider the core values of watermark woodcut, we may begin to appreciate the extraordinary importance, and fortuitous impact, the technique had on printmaking throughout history. By considering the work of contemporary artists, it is evident how the traditional method of watermark woodcut printing is being used alongside contemporary concepts.

　　Bao Tao expresses his interpretation of the identity of women in the language of art through the topic of “the other”. He argues that, to modern society, women are “the other” and therefore, problems pertaining to them should repeatedly be raised and discussed to find a solution.

　　Cui Dezheng’s work explores the spirit of “acquiring knowledge through the study of the essence of things”. The elegance and emotions of Ukiyo-e and the rational expression of modern Western abstraction are all wittingly affected by “the other”.

　　Sunny Art Centre is a leading art institution located in central London, dedicated to sharing knowledge and enthusiasm for fine art practices. Our tutors are highly qualified, practicing art professionals, and our centre has been hosting courses and art events for over a decade. Our art centre also has extensive collaboration experience with large-scale institutions and enterprises including the Royal Academy of Arts, School of History and Cultures – University of Birmingham, Selfridges & Co, Harrods, Giorgio Armani, Freshfields, HSBC Bank, ITV, Viktor&Rolf, PricewaterhouseCoopers ( P W C), SKY TV, BBC Worldwide and amongst many others. We offer corporate art services, lectures, participate in art fairs, as well as organise in-house exhibitions.

　　（综合编辑：何美）

       延伸阅读：

       巫鸿：中国美术对人类美术史的贡献

       韩美林艺术：中国文化传统复兴的信号