1945年中国木刻艺术传输美国考略  

Textual Research on the Transmission of Chinese Woodcut Art to America in 1945

作　　者：陈都 Chen Du

机构地区：[1]上海美术学院

出　　处：《美术》2021年第4期105-109,115,共6页Art Magazine

基　　金：2020年国家社会科学基金艺术学重大项目“中国近现代美术国际交流文献研究”(立项批准号:20ZD15)的阶段性成果。

摘　　要：在20世纪中国木刻艺术发展史中,学界长期关注德国、苏联木刻版画的传播,以及中国木刻艺术如何汲取养分的问题,即输入的问题,但较少真实地了解当时的中国木刻艺术在广泛地吸收中外木刻版画优秀因素的同时,已经传播境外,成为外部认识中国进步与革命艺术的窗口,即输出的问题。特别是1945年前后,美国各界大量地收藏中国木刻作品,并主动地进行与之相关的出版、展览活动,遂形成了中国现代艺术传播美国的一个高峰。因此,本文在综合各方文献的基础之上,钩沉这个中国现代艺术的高光时刻,研究这个曾经"讲好中国故事"的范例,力图对当下中国对外文化交流有所启示。In the development history of Chinese woodcut art in the 20th century, the academic circles paid attention to the spread of woodcut prints in Germany and the Soviet Union, and how Chinese woodcut art absorbed nutrients, that is, the problem of input. However, they seldom really understood that while Chinese woodcut art at that time absorbed the excellent factors of Chinese and foreign woodcut prints extensively, it spread abroad and became a window for the outside world to learn about Chinese progress and revolutionary art, that is, the problem of output. Especially around 1945, all walks of life in the United States collected a large number of Chinese woodcut works and actively carried out publishing and exhibition activities related to them, thus forming a peak for the spread of Chinese modern art in the United States. Therefore, based on sorting out literatures of all parties, this paper explores this highlight moment of Chinese modern art, studies this example of "telling Chinese stories well", and tries to enlighten China’s foreign cultural exchanges at present.

关 键 词：木刻 民族 美国 大众 

分 类 号：J209[艺术—美术]