走向“一般观众”的新兴木刻风格建构——以胡一川抗战时期的实践为例  

The Stylistic Construction of New Woodcuts for the “General Audience”: The Practice of Hu Yichuan during the War of Resistance Against Japan as an Example

作　　者：屈波[1] Qu Bo

机构地区：[1]四川美术学院

出　　处：《美术》2022年第8期82-90,共9页Art Magazine

基　　金：国家社科基金重大项目“中国抗战艺术史(多卷本)”(项目编号:20ZD051)子课题“中国抗战艺术风格史”阶段性成果。

摘　　要：新兴木刻的风格建构与创作者、观者均有关系。新兴木刻以公开展览的方式走向“一般观众”,他们在接受木刻的同时也对木刻风格提出质疑,创作者因应现实情境,在古今中外的艺术资源中进行选择,调整风格,以此形成和观众的共享关系。胡一川抗战时期在延安和太行山根据地参与的木刻实践活动具有典型性,无论是其个人创作、展览还是带领鲁艺木刻工作团工作、创作与流动展览,均发挥了木刻作为抗战武器的作用。Emerging woodcuts’ stylistic framework has been related to both the maker and the viewer. Through public shows, the emerging woodcuts were introduced to the “general audience”, who embraced them but also questioned their style. In response, the makers used resources from both ancient and modern art to adapt the style to the real context, forging a bond with the audience. It is typical of Hu Yichuan’s involvement in woodcut practice in the Taihang Mountains and Yan’an base areas during the War of Resistance Against Japan;whether he was producing and exhibiting work on his own or directing the Lu Yi Woodcut Working Group to work, create and host mobile exhibitions, he utilized woodcut as a weapon in the War.

关 键 词：新兴木刻 胡一川 艺术风格 抗战艺术 观众 

分 类 号：J209[艺术—美术]