革命与先锋:现代木刻艺术的兴起及其在中国的接受  

Revolution and Pioneer: The Rise of Modern Woodcut Art and Its Acceptance in China

作　　者：邱月[1] 

机构地区：[1]四川文化产业职业学院,四川成都610000

出　　处：《成都大学学报（社会科学版）》2015年第2期118-123,共6页Journal of Chengdu University (Social Sciences)

基　　金：四川省教育厅项目:"四川地区非物质文化遗产在舞台设计中的应用研究"(项目编号:13sb0311)

摘　　要：现代木刻艺术在西方的兴起,沿袭了现代派艺术发展的脉络,也与马克思主义思想在艺术领域的传播有关,现代木刻对资本主义的批判,让底层劳动者成为作品主角,刚健有力的审美特征,正说明了这种特征。现代木刻在20世纪30年代在中国迅速发展,与中国左翼文化的整体发展关系紧密,同时也体现出倡导者对艺术现代化的追求,鲁迅对木刻大众性、宣传性、审美性等特征的提倡,既立足于左翼立场,同时也有艺术现代化的整体考虑。现代木刻在20世纪的迅速发展,体现出中西艺术家在政治立场和审美追求上的高度契合,这也为其本土化道路打下了坚实的基础。The rise of modern woodcut art in the west, following the development of modern art, is also related to the spread of Marxism in the field of art. This feature is illustrated by its criticism of capitalism, worker protagonists and vigorous aesthetic characteristics. The rapid development of modern woodcut in the 1930s is closely tied to the overall development of the left-wing culture in China. It also reflects the pursuit of the advocates. Lu Xun, based on both the left-wing position and overall consideration of artistic modernization, advocates that woodcut should be of mass-oriented style, publicity and aesthetics. The rapid development of the modern woodcut in the last century embodies that Chinese and Western artists highly fit in the pursuit of aesthetics and political standpoint, which lays a solid foundation for its localization.

关 键 词：木刻 现代木刻 马克思主义 

分 类 号：J217[艺术—美术]