Artwork Description

Title:Upper Good is Like Water Five

Artist:
Na Xu

Date:
Undated

Medium:
Woodcut

Dimensions:
40 × 50 cm (15.7 × 19.7 in)

1. Artwork Identification
Na Xu’s Upper Good is Like Water Five is a monochromatic woodcut measuring 40 × 50 cm. The work presents an intricate interplay of organic and geometric forms, blending undulating water-like patterns with mountainous silhouettes and structured, angular shapes. The fine carving technique and precise ink application underscore the artist’s technical proficiency in relief printmaking.

2. Artistic Style and Influences
The composition draws upon traditional East Asian aesthetics, notably the rhythmic representation of waves and mountainous terrain, while integrating contemporary abstraction. The juxtaposition of natural and geometric elements evokes Zen-inspired minimalism and conceptual explorations of harmony and tension. This hybrid language situates the piece within the lineage of modern woodcut innovations influenced by both Chinese literati ideals and Western abstraction.

3. Historical Context
The Title:, Upper Good is Like Water (Shangshan Ruoshui), references a core concept from the Dao De Jing by Laozi, associating virtue with water’s yielding yet transformative nature. This philosophical underpinning reflects the continuity of classical thought in contemporary Chinese art practice. In the broader context, the resurgence of woodcut as a Medium: among 21st-century Chinese artists signals a dialogue between tradition and modernity, responding to cultural heritage and global art discourse.

4. Provenance and Authenticity
Please contact the gallery directly for provenance details and authenticity certification.

5. Condition and Conservation
The print is in excellent condition, exhibiting crisp impressions and uniform ink distribution. No visible foxing, discoloration, or structural paper issues are present. The edges remain clean and stable, indicating professional handling and archival storage.

6. Artistic Significance
This work exemplifies Na Xu’s nuanced approach to printmaking, merging classical Chinese philosophy with experimental visual strategies. Through the symbolic resonance of water and geometric forms, the artist reinterprets Daoist concepts for a contemporary audience, positioning the piece as a significant contribution to the evolving discourse of Chinese woodcut art.