The "Bloody Massacre" series of traumatized figures is a powerful condemnation of the horrific Japanese massacre of Nanjing in 1937. In using the woodcut, Cheng Mian unconsciously invokes the style of Kathe Kollwitz whose works were introduced into China in the 1930s by the great Lu Xun, as a model for Chinese artists seeking to make their own political and social comment.
母亲的眼泪 [Muqin de yanlei]
Place where the work was made
People's Republic 1949 - → China
69.0 x 54.5 cm; 70.0 x 55.8 cm mount
Signature & date
Signed and dated l.r., in Chinese, pencil "Cheng Mian (1985 Nanjing)".
Not on display
© Cheng Mian
Where the work was made
Shown in 2 exhibitions
The People's Progress 20th Century Chinese Woodcuts, Art Gallery of New South Wales, Sydney, 26 Oct 1996–15 Dec 1996
Modern Chinese prints: from WE to ME, Art Gallery of New South Wales, Sydney, 21 Oct 2006–28 Jan 2007
Referenced in 1 publication
Jackie Menzies, The People's Progress 20th Century Chinese Woodcuts, Sydney, 1996, 18.