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Although “To the Front!” had taken much cues from German expressionist artists, the construction of the print which consists of a full frontal, dominating stong man leading the revolt was an original idea. Compared with Li Hua’s “Arise!”(Figure 7) which had patterned the style and content from Kollwitz’s “Outbreak”, “To the Front!” bore more Chinese characteristics with the man wearing Chinese style clothing and looked Chinese. In “Arise!” The peasants and soldiers could be of any nationality and although it also had a strong message. “To the Front!” would be more associable to the Chinese people.

As O’Neil had stated in his book, it was ironic that Lu Xun and young artists like Hu Yichuan should turn first to European woodblock printing for inspiration on how to redevelop this ancient Chinese artistic and technological practice, which by that time, European artists had just started to make them an art form from its own right [8] . It was more ironic in the sense that Chinese traditional woodprints were once a tool for Chinese propaganda against the west in the 1860s.

In the “Anti-Christian print” (Figure 8), we can see a very traditional woodcut which had flat figures with simple outlines. The power of the use of black was not recognized and it was simply a substitute for colour. In terms of the usage of lines, Hu had used strong diagonal lines and upward lines to convey the urgency while the artist who made the “Anti-Christian print” didn’t choose lines to convey a sense of motion. The construction of the two prints are also startling different. “To the Front!” was very dramatic, with a big figure dominating the painting while the construction of the “Anti-Christian print” was very simple and the people were drawn not in proportion. In terms of space, the dominating male acts as a leader walking in the front and the crowds which diminishes at the back persuasively suggests a depth of space. In the “Anti-Christian print”, the sense of space was very subtle and not persuasive as it was only signified by the diagonal lines of the table and that the little people were placed.

In terms of message, Hu’s woodcut could only be fully understood if viewers were aware of the context and history background of the time as the enemies of those people were not drawn. However, in the “Anti-Christian Print”, we know clearly who the enemy was as it was a rebus painting, “pig” meaning Jesus and “sheep” meaning westerners. The “pig” was hanged on the cross and shot with arrows and the sheep were tied to the ground and going to be killed. The westerners were depicted as bad and it seemed injustice to prosecute them. While Yu chose to used the black tone and the diagonal lines to represent the anger to the foreigners and urgency to fight back. He was trying to arouse their eagerness to fight by powerful images but not direct attack on the enemy. In other words, “Anti-Christian Print” was a message from the court transce本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。