When I began doing linocut printing little did I know that block printing originated in Asia very near to my own roots in Vietnam. Since then I have become fascinated with the history of block printing, so here is a little history I have pulled together from what I have learned.

Block printing originated in China 200 AD and spread throughout Asia to places like Japan, India and Vietnam. Originally block prints were used to convey Buddhist spiritual teachings and spells, and the print itself was regarded as a sacred object such as talisman or amulet. By the 10th century, block printing had spread to North Africa and Byzantine Empire and by then it had diversified in its purpose and subject. Prints at this time were used to illustrate stories, provide gardening and travel advice, record herbal medicine recipes, convey philosophical ideas and teach the art of war, and were a means of writing down theatrical play scripts. By the 13th century, most likely by way of the Silk Road, block printing had reached Europe.

Woodcarver during the Nguyen Dynasty, Vietnam, carving words into a woodblock. Photo courtesy: Le Thuy Hang research gate,net.

Block prints have a complicated history, sometimes used to uplift our humanity and at other times used brutally as a means of oppression. When block printing reached North America, it was used to promote the sale of enslaved people and to document the grandeur of the American West, further entrenching the imagined idea of Manifest Destiny at the sacrifice of Native American autonomy, voices, cultural heritages. However, block prints were also used to distribute abolitionist ideas, and with the invention of movable type, block printing contributed to the widespread and more economical distribution of writing which was sometimes used to promote revolutionary ideas and played an important role in paving the way for social transformation.

Carving tools and a woodblock, Dong Ho folk art blockprint shop, Vietnam. Photo credit: Shutterstock.

A Đông Hồ woodblock print from Bac Ninh Province, Vietnam, near to my mother’s place of birth. Traditional Đông Hồ woodblock prints feature animals, village life and folk tales and are a source of inspiration for my own work. Photo Credit: Egui_ Rates Celebrating Tet. Creative Commons.org

In the course of its journey across the world, block printing went through many iterations and transformations so the block prints you see today are an embodiment of a combination of innovations, creativity, skills, and knowledges that bring together contributions of people from vastly different cultures and continents.

Although block prints were originally printed on handmade paper, block prints have since been printed on scrolls as well as textiles. Originally monotone in color, block printing has diversified over time to include multiple colors, requiring multiple layers of printing. Now block printing includes both two-dimensional images as well as three-dimensional images such as chiaroscuro woodcut prints created in Italy in the 16th century. Today we also find artists carving materials other than wood, for example, linoleum is a popular contemporary material for carving because of its soft texture.

Vietnamese artist in traditional clothing painting a Đông Hồ folk art block print. Đông Hồ Village used to be the center of politics and culture of Northern Vietnam, and Đông Hồ block prints were a medium used to subtly express social, political, and cultural criticism including anti-colonial ideas during French colonial occupation of Vietnam. Photo courtesy of itourvn.com.Photo credit: Shutterstock.

So the story of how block printing came to be is a history of crossing wide oceans, of power and pain, of uprootedness and unbelonging. It is this intermingling of landscapes and continents so often thought of as separate that is the bittersweet flavor of this ancient and modern art form I now us in my own studio to create my own prints. I find it deeply meaningful to be carrying on an artistic tradition that originates from the landscape of my own ancestral heritage, and follows a cross-cultural cross-continental journey that is somewhat parallel to my own life trajectory. Now I use this traditional art form to share folktales from around the world to remind us of our ancient kinship with the wild. It is my creative way of weaving together timeless stories and an ancient craft to fill a very contemporary need to feel a shared sense of belonging to this precious planet.

References:

Le Thuy Hang., and Vu Hong Van. (2020) “Method of Printing Carved on Wood under the Nguyen Dynasty of Vietnam: Study of Woodblocks Recognized by UNESCO as a World Documentary Heritage”. International Journal of Psychosocial Rehabilitation, Vol. 24, Issue 6.

Mayor, A. Hyatt (1980). Prints and People: A Social History of Printed Pictures. Princeton University Press.

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