新兴木刻版画的民族性基因及其当代表现  

The National Gene of New Woodcut and Its Contemporary Expression

作　　者：全行 Quan Hang

机构地区：[1]南京大学艺术学院

出　　处：《美术》2021年第12期17-21,共5页Art Magazine

摘　　要：新兴木刻版画具有强烈的民族性表达,在追溯中发现,中国古代版画与新兴版画的分野看似清晰,实则内在的民族性作为一条精神红线始终贯穿其中。中华人民共和国成立以来的中国版画深挖民族性的精神实质,进一步寻求在传统与现代之间、在民族与世界之间如何展现中华审美风范。本文通过溯源新兴木刻版画的民族性基因以及梳理1949年后中国版画的民族性表现,探讨中国当代版画的民族性方向,即"守正创新",在扬弃、接纳和再造中获取生机。New woodcut is of a strong national expression.By tracing back,it can be found that the division between ancient Chinese woodcut and new woodcut seems clear,but in fact,the inherent nationality always runs through it as a spiritual red line.Since the founding of the People’s Republic of China,Chinese woodcut has deeply explored the spiritual essence of national character,and further sought for ways to show Chinese aesthetic style between tradition and modernity,and between nation and the world.This paper,by tracing the national gene of China’s new woodcut and sorting out the national expression of Chinese woodcut after 1949,discusses the national direction of Chinese contemporary woodcut,that is,"upholding orthodoxy and making innovation",to gain vitality from sublating,accepting and reproducing.

关 键 词：民族性 新兴版画 当代版画 延续与革新 

分 类 号：J209[艺术—美术]