赖少其对民族形式的改造探索及相关问题  

Lai Shaoqi’s Exploration of the Transformation of National Form and Related Problems

作　　者：卓莎[1] Zhuo Sha

机构地区：[1]广州大学美术与设计学院

出　　处：《美术》2021年第12期109-114,119,共7页Art Magazine

摘　　要：1939年,赖少其在桂林地区发行的《抗战门神》引发了艺术工作者们对于民族形式的热烈讨论,并广受好评。本文由《抗战门神》切入,对赖少其木刻艺术中的民族形式进行研究,讨论当时木刻所面临的社会背景及其艺术功用,分析鲁迅对赖少其木刻的影响,并论述当时木刻中民族形式探索的手段和存在的问题。本文指出,赖少其在桂林地区进行的大量木刻理论的研究与民族形式的创作,与其早期在广州现代版画会的经历以及与鲁迅的交流密切相关;赖少其不仅在理论上指出了艺术创作中技术性和思想机械性的问题,更在艺术实践方面为民族形式的改造提供了一条可资借鉴之路。In 1939,Lai Shaoqi published the woodcut Door-God for Fighting against Japanese Invaders in Guilin area,which was widely praised and triggered a heated discussion among art workers about the national form.This paper,starting from the Door-God for Fighting against Japanese Invaders,studies the national form in the woodcut works of Lai Shaoqi,discusses the social background and artistic function of woodcut at that time,analyzes Lu Xun’s influence on Lai Shaoqi’s woodcuts,and expounds the means and existing problems of national form exploration in woodcut at that time.It points out that Lai Shaoqi’s research on woodcut theory and creation of national form in Guilin area were closely related to his early experience in Guangzhou Modern Woodcut Society and his communication with Lu Xun.Lai Shaoqi not only pointed out the technical and ideological mechanical problems in artistic creation in theory,but also provided a way for the transformation of national form in artistic practice.

关 键 词：赖少其 《抗战门神》 木刻 抗战宣传 民族形式 

分 类 号：J209[艺术—美术]