直面现实:抗战初期木刻版画的社会介入及其审美构成  

Confront the Reality: the Social Intervention and the Aesthetic Composition of the Wood Engravings during the Initial Period of the Anti-Japanese War

作　　者：肖十川 李晓虎 任慧慧 XIAO Shi-chuan;LI Xiao-hu;REN Hui-hui(College of Fine Arts and Design,Xiangnan University,Chenzhou,Hunan 423099,China;Scientific Research Department,Urumqi Vocational University,Urumqi 830002,China)

机构地区：[1]湘南学院美术设计学院,湖南郴州423099 [2]乌鲁木齐职业大学科研处,新疆乌鲁木齐830002

出　　处：《乌鲁木齐职业大学学报》2022年第1期29-32,共4页Journal of Urumqi Vocational University

基　　金：2018年度湖南省哲学社会科学基金项目:“中国红色木刻与德国表现主义木刻之人物造型比较研究”(项目编号:18YBQ108)。

摘　　要：抗战初期的木刻版画是艺术社会学在中国最具代表性的实践,五四新文化运动及其所影响的政治、文学、教育、美学等是木刻版画发展的思想土壤,它的社会介入是在各艺术团体有组织的活动中完成的,直面现实是其发展的具体方法,也是发展的审美结果。The wood engravings during the initial period of the anti-Japanese war are the most representative practice of sociology of art in China. The May 4th movement of New Culture and its the influences on politics, literature, education,aesthetics, etc, is the ideological soil for the development of wood engravings. Its social intervention is completed in various organized activities of art groups. Confronting the reality is the specific method and the aesthetic result of its development.

关 键 词：木刻版画 抗战美术 艺术社会学 版画审美 

分 类 号：J217[艺术—美术]