现实与艺术:中国现代版画的发展及其印刷美学探索初论  

Reality and Art:Primary Study on the Development and Printing Aesthetics of Woodcut Art in Modern China

作　　者：安宝江[1] AN Baojiang(Beijing Institute of Graphic and Communication,Beijing 102600,China)

机构地区：[1]北京印刷学院,北京102600

出　　处：《北京印刷学院学报》2022年第7期33-41,共9页Journal of Beijing Institute of Graphic Communication

基　　金：北京市社会科学基金项目“中国近现代文艺类书籍插图艺术历程研究(1900~1949)”(16YTB013)阶段性成果。

摘　　要：创作型木刻版画在20世纪20年代因为中国社会形势的需要而被积极引入。在传播过程中,为协调西方艺术观念与中国民众的审美接受差异,艺术家将其与中国传统雕版艺术相融合,既服务于社会需求,也在艺术表现上进行本土化探索,创造出中国化的版画形式和新的印刷美学特征探索。对于木刻版画在现代中国的这一发展历程,本文从木刻的社会性、本土化策略及其艺术性的角度进行了概括和分析,认为木刻版画的美学特征是以工艺性为基础的艺术创作,其社会性和现代性依托于这一艺术特质,版画的发展也应系于此。For the need of social situation in China,creative woodcut was introduced into China in the nineteen twenties.In the process of communication,in order to make the Chinese people accept it,integrating the western art concept and the aesthetic reception of Chinese,the artists fused the woodcut with Chinese traditional woodcarving,which not only served the social needs,but also localized the artistic expression to create Chinese woodcut.Based on further study,this paper holds that woodcut is an artistic creation based on craftsmanship.Its sociality and modernity as well as development depend on its artistry.

关 键 词：木刻版画 印刷美学 艺术本土化 

分 类 号：J524[艺术—艺术设计]