With the "Xidi Village Series" printmaking, Ying Tianqi is set to launch a painting exhibition. In an era where engraved prints are gaining attention, Ying Tianqi is once again stepping into the spotlight. For China's printmaking market, this signals a turning point. As the 2011 Chinese Print Year kicked off, Ying Tianqi made a strong entrance. However, for collectors, this moment is both exciting and challenging. If these limited-edition prints can break free from their "ugly duckling" phase, it won't be long before they transform into "white swans," especially as original works see their value soar. The potential for appreciation is real. Millions of prints are now making waves in the market. According to auction listings on Bobao, screen-printing works by modern and contemporary artists have exceeded 10,000 yuan. Fang Lijun’s ten sets of prints sold for 336,000 yuan, while Liu Ye’s “Untitled” screenprints fetched 22,400 yuan. Zhang Xiaogang’s “My Memory” went for 44,800 yuan. Some may question whether these prices are too high, but others argue that it's justified. Wu Guanzhong’s prints also exceed 100,000 yuan. Wang Huaiqing’s “Two Diagrams of the Qing Dynasty” was valued between 120,000 and 200,000 yuan and was even auctioned in Taiwan. Zhang Liang’s “Wing” reached over 130,000 yuan. Younger artists like Yue Minjun have seen their early prints rise in price—from 10,000 to 20,000 yuan up to 70,000 to 100,000 yuan today. Looking at auction results from the past two years, the one thousand yuan mark is now a distant memory. Most screen prints now range from 10,000 to several hundred thousand yuan, with fewer than 10,000 yuan being rare. But just five to ten years ago, it was the opposite. Internationally, printmaking has been popular in Europe since the 1850s and gained traction in Japan during the 1970s and 1980s. Due to its decorative appeal and affordability, print transactions in Europe and Japan have surpassed those of other art forms, with prices rising sharply in recent years. In terms of auction prices, prints often outperform Chinese works. For example, Kusama’s “Hat” sold for $640,000 in Hong Kong, and his “The Fruit” was valued at around 400,000 to 500,000 yuan in 2009—showcasing clear growth potential. The current state of the Chinese printmaking market is partly due to a cycle: the strength of printmaking lies in its accessibility, but limited sales have led to higher per-unit prices, which can deter buyers. This has resulted in a relatively quiet market in the past. Today, prints are no longer confined to the shadows. They are now making their mark in the traditionally dominant Chinese painting and calligraphy markets. More and more prints are appearing in auctions of modern and contemporary art, and galleries like Beijing 798 are embracing them. The “2011 China Print Year” has officially begun, featuring a series of exhibitions and events organized by the Chinese Artists Association. From Egypt to China, themes include the “Plurality of Inviting Exhibitions,” “International Print Biennial,” and “China Youth Print Exhibition.” One ongoing initiative is “China’s Printmaking into 10,000 Families.” As Professor Xi Xi from the Shaanxi Printmaking Arts Committee stated at the National Fifth Edition: “The arrival of prints on the market is an unstoppable trend. We shouldn’t fear that commercial awareness will lower artistic or academic standards. Instead, we should actively engage with the market to create conditions for survival. Only then can there be a chance for development.” Prints are gaining value alongside original works. Following global trends, the printmaking scene is heating up in China. While some still view prints as “ugly ducklings,” others believe they will eventually become “white swans” in the market. Lu Zhiping, director of the Shanghai Artists Association's Print Art Committee, notes that in Western markets, printmaking is highly favored among investors. Works by masters like Picasso and Müller are common at millions of dollars. Many Chinese collectors are also showing interest. Though original works are unique and expensive, prints offer great appreciation potential. Even if their price is only a fraction of originals, their value can grow significantly. Judging from recent market activity, there is still room for growth in the print market, though appreciation varies depending on the artist. As one gallery owner noted, if original works continue to rise in price, limited edition prints will follow suit. First-line artists like Wu Guanzhong have already proven their value. Their prints are widely recognized, and their potential for growth is promising. For those entering the print market, it's important to understand your own goals. Some advise caution, reminding buyers not to treat prints as quick investments. Only true art lovers can truly appreciate prints over time.

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