Core Viewpoint - The article discusses the significance of printmaking as a medium for artistic expression during the anti-fascist struggle, highlighting its evolution from a tool of propaganda to a bridge for peace dialogue, particularly in the context of the 80th anniversary of the victory in the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War [9]. Group 1: Historical Context and Artistic Development - The emergence of modern woodcut art in China was catalyzed by a workshop led by Lu Xun in 1931, which trained the first generation of modern woodcut artists [11]. - The work "The Invasion of Shenyang by Japanese Troops" by Jiang Feng is noted as one of the earliest modern printmaking pieces directly addressing the theme of resistance against invasion [11]. - The Yan'an Lu Xun Art Academy became a center for woodcut creation during the full-scale war, producing works that depicted the heroic struggles of civilians and soldiers [12]. Group 2: Global Resonance of Printmaking - Printmaking served as a universal visual language during the turbulent first half of the 20th century, transcending national boundaries and resonating with audiences worldwide [13]. - German printmaker Käthe Kollwitz's work "The Sacrifice" critiques the suffering caused by war from a maternal perspective, influencing Chinese artists like Li Hua [13]. - The Mexican "People's Graphic Workshop," established in 1937, contributed to the global anti-fascist movement through realistic depictions of resistance and suffering [14]. Group 3: Contemporary Printmaking and Peace Themes - Contemporary printmaking has shifted towards themes of peace and cross-cultural dialogue, as seen in exhibitions like the "Belt and Road International Printmaking Exchange Exhibition" held in Berlin [15]. - The Shanghai Duolun Modern Art Museum hosted an exhibition showcasing the creative transformation of traditional printmaking techniques, emphasizing the fusion of artistic styles [16]. - Projects like Xu Bing's "Wood Forest" illustrate the potential of printmaking to engage the public in environmental initiatives, demonstrating the medium's relevance in advocating for peace and ecological protection [16].

Group 1 - The article discusses the commemoration of the 80th anniversary of the victory in the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War, highlighting various cultural and artistic activities planned for this occasion [1][4][6] - A series of performances and exhibitions will take place from August to October, including a major gala on September 3 in Beijing, featuring prominent artists and a focus on affordable tickets to ensure public access [4][5] - The theme exhibition at the Chinese People's Anti-Japanese War Memorial Hall will showcase 1.22 million square meters of space, displaying 1,525 photographs and 3,237 cultural relics, emphasizing the historical significance of the war and the role of the Communist Party of China [6][7] Group 2 - The article outlines a nationwide media campaign titled "Mountains and Rivers Witness - Our Anti-Japanese Memory," which will involve live broadcasts from significant historical sites related to the war, aiming to foster a sense of historical remembrance and national pride [5][8] - Various artistic works, including documentaries and short dramas, will be produced and broadcasted, with a focus on both grand narratives and personal stories from the war, appealing to a diverse audience [8][9] - The article mentions the inclusion of classic artworks and new creations in exhibitions, with over 300 pieces of art planned for display, showcasing the contributions of artists to the commemoration [7][8]

Core Perspective - The New Woodcut Movement, initiated by Lu Xun in the 1930s, has significantly influenced modern Chinese printmaking and embodies the spirit of youth and social engagement [1][2]. Group 1: Historical Context - The New Woodcut Movement began with the establishment of the first modern woodcut technique class in Shanghai on August 17, 1931, led by Lu Xun, who emphasized the importance of printmaking as a revolutionary and accessible art form [1]. - Lu Xun viewed printmaking as a medium that could quickly disseminate ideas and engage the youth, believing that young people possess the vitality to create and innovate in art [1]. Group 2: Youth Engagement - From its inception, the movement has been characterized by the active participation of youth, who sought to create art that resonates with and educates the public, moving away from traditional constraints [2]. - Notable works by young artists, such as Lai Shaoqi's "Debt and Illness" and Huang Xinbo's "Ordinary Stories," reflect social issues and have sparked widespread resonance and social awakening [2]. Group 3: Contemporary Developments - Today, youth remain a vital force in printmaking, supported by initiatives from cultural and artistic organizations that promote contemporary woodcut art and recognize emerging talents [3]. - Contemporary youth printmakers focus on the purpose of creation, aesthetic richness, and shared themes, pushing the boundaries of traditional printmaking towards more expressive and artistic forms [3].