鲁迅的审美选择及其美育思想传播  

Lu Xuns Aesthetic Choice and His Aesthetic Education Thought Dissemination

作　　者：王博学 黄也平[1] WANG bo-xue;HUANG ye-ping(School of Literature Jilin University,Changechun,Jilin 130012)

机构地区：[1]吉林大学文学院,吉林长春130012

出　　处：《艺术百家》2020年第3期32-39,共8页Hundred Schools In Arts

基　　金：2016年度吉林省社会科学基金项目(项目编号:2016B280)阶段性成果之一。

摘　　要：鲁迅对木刻版画的推介和理解,显现出他超前的审美意识和带有启蒙色彩的美育思考。刻印绘图版《山海经》在少年鲁迅心中产生了极大震撼,以此为代表的中国传统民间版画艺术深刻地影响了鲁迅一生的审美选择。此后,鲁迅在日本留学时广泛接触西方艺术,归国后又不断收集、研究中国传统金石拓片艺术,其艺术思想逐步成熟。在20世纪初的启蒙运动中,鲁迅敏感地认识到视觉图像的传播作用和价值,后半生开始不遗余力地推广中国现代木刻版画。鲁迅美育思想的形成在一定程度上受到了蔡元培的影响。鲁迅的艺术精神和美育思想在一定程度上对左翼文艺形象塑造以及中国现代图像文化奠定了重要的美学基础。鲁迅晚年的美学意识和艺术思想是批判性的和革命性的,对左翼文艺思想、左翼图像文化的发展产生了重要作用,一批具有鲜明左翼文化特征的文艺形象和艺术风格也由此登上了历史舞台并开始蓬勃发展。鲁迅对于图像传播价值和效果的认识间接地转移到左翼图像文化的传播发展过程中,早期的左翼木刻始终肩负着重要的无产阶级文艺形象塑造和宣传的工作,在某种角度上可以被视为鲁迅美育思想传播的延续性成果。The engraving and drawing edition of Shanhai Jing astounded Lu Xun in his early youth,and his aesthetic choice was deeply influenced by Shanhai Jing and the other representative works of Chinese traditional engraving art.Since then,Lu Xun got in touch with Western arts extensively during his overseas study at Japan,and his aesthetic thought was gradually formulated after collecting and researching Chinese traditional stone rubbing arts when returning to China. In enlightenment movement at the beginning of the 20th centuries,with his sensitive instinct Lu Xun realized the transmission function and value of visual image,so he spent the rest of his life in prompting Chinse wood engravings without holding back. Lun Xun prompted the development of Chinese wood engravings art with the help of his comprehensive understanding,which manifested his cutting-edge and enlightening thought on aesthetic education.His art spirit and evaluation on aesthetic education are viewed as an essential aesthetic foundation of Chinese modern image culture,and also forming the left-wing artistic image in a certain level.

关 键 词：鲁迅美育思想 木刻版画 审美选择 艺术传播 

分 类 号：J0[艺术—艺术理论]