In his article u22Masereel, Lu, and the Development of the Woodcut Picture Book (連環畫) in Chinau22 Tie Xiao situates Chinese u22continuous pictorial narrativesu22 (lianxu tuhua) by radical woodcut artists in the 1930s within a global exchange of the visual. Further, Xiao examines woodcut artistsu27 efforts to develop an expressive form of mass-oriented art through creative engagement with the Japanese creative print (hanga) movement and the u22woodcut novelsu22 by the Belgian graphic artist Frans Masereel. Xiao argues that central to self-produced woodcut pictorial narratives is the dilemma between the intimate and private impulse of self-expression and the desired immediacy and accessibility of form.
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