The Ashmolean Museum has one of the finest collections of modern Chinese prints in Europe and some of them are on view in a special exhibition, writes SYLVIA VETTA

This exhibition may be small in size but not in ambition. The Ashmolean Museum has an exquisite collection of Chinese artefacts but the Assistant Keeper of Eastern Art, Shelagh Vainker, had the vision to build on an important modern collection. The museum was farsighted in collecting contemporary ink paintings in the 1950s.

For this show Weimin He, who is on a three-year placement at the museum, went to China and acquired a comprehensive selection of woodblock prints. As an artistic image, it was introduced in the 1920s by Li Shutong, who had studied western art in Japan.

Weimin He returned with a total of 107 prints by 74 artists from different regions revealing the development of styles and techniques between 1950 and 2006.

This extra dimension to the museum's already fine collection makes it the most comprehensive and one of the best in Europe.

The restrictions of the Eldon Gallery mean these new acquisitions will be displayed in two parts: the second opening on December 18. The new buildings will provide an exhibition space worthy of this, the first public museum.

This is an important exhibition and the quality and variety of exhibits for both shows is superb.

Printing it red is how the exhibition can be described, not just because of the communist associations, but because of the deliciously mouthwatering red sorghum fields in some of the prints. Weimin He said they come from the "Great Northern Wilderness School, which is well known for the use of vibrant colours with multi-block printmaking techniques".

A famous writer and revolutionary called Lu Xun (1881-1936) advocated the use of prints as a political tool. He introduced the works of the German artist Käthe Kollwitz which depicted images of social oppression.

By the start of the Cultural Revolution in 1966, the use of prints and posters for propaganda was well established. But this was a period when creative art was suppressed and many artists and teachers imprisoned. There were no national exhibitions between 1964 and 1972.

The ideas of the great thinkers of Ancient China, including CongFuxi, LaoZi and Chuang Tzu, were almost consigned to the dustbin of history. Many books were burned and art and antiques destroyed by the marauding Red Guards unleashed by Madame Mao and the Gang of Four. Even landscape painting was banned in this bonfire of classical ideas.

The female artist Li Xiu's The Return of the Graduate was printed in 1977 but its style is reminiscent of youth on the move at the beginning of the Cultural Revolution when the schools closed and they were free to explore China. By 1968, those who had the opportunity joined the clean' classes of workers, peasants and soldiers. Only socialist realist art celebrating these groupings was sanctioned. This is typified by the descrption attached to the picture of Tibet on display: "This print represents a scene following the peaceful transformation of Tibet from a feudal society to a socialist system in 1951."

Sadly, the Chinese believe they have a right to be in Tibet, just as we thought we had a right to be in Hong Kong. For realism, the recent scenes of pacifist monks in Burma facing an army is a more accurate reflection of what happened in Tibet in 1951.

After 1980 the art gradually changes and becomes freer, particularly in style, technique and subject matter. Deng Xiaoping's social and economic reforms of 1978 meant that many artists saw capitalist' or 'bourgeois' images for the first time. It led to a period of experimentation. The most notable installation from this time was Xu Bing's Book from Sky. It became one of the most written about works of the 20th century. He invented unintelligible characters and hand cut them into wood blocks. He received a MacArthur Foundation genius award in 1999. One of his works, Lost Letters, has been selected for this collection.

There is a large expressionist print made in 1998 by Dai Zhengsheng, while Hong Tao's colourful Galloping rhythm (of the city) is used in the museum's publicity for the exhibition.

Weimin He and Shelagh Vainker have written an informative and attractive illustrated catalogue for this show. If you are interested in contemporary Chinese art or are looking for a colourful Christmas present, it is a good buy.

Special offer for readers of The Oxford Times. Take this feature to the shop for 20 per cent off the marked price. Chinese Prints (1950-2006) Part 1 until December 9. Part 2: December 18-February 24, 2008. Admission is free. The museum is closed on Mondays.