1930年代中国需要怎样的大众艺术——论鲁迅的浮世绘收藏与黑白木刻版画的关系  

What kind of Mass Art Did China Need in the 1930s:On the Relationship between Lu Xun’s Ukiyo-e Collection and Black-and-white Wood-engraving Prints

作　　者：周婉京 Zhou Wanjing

机构地区：[1]北京第二外国语学院

出　　处：《艺术设计研究》2022年第5期102-106,共5页Art & Design Research

摘　　要：鲁迅是中国新文化运动的领军人物,也是中国新兴木刻版画运动的推手。1930年代是鲁迅广泛搜集西方版画、集中收藏日本浮世绘作品与书籍的时期。同一时期,鲁迅在上海举办了木刻讲习会,标志着中国新兴木刻运动的开始。本文聚焦1930年前后鲁迅的浮世绘收藏与他推介到国内的西方黑白木刻版画。通过比较二者的来源、所表达的内容与形式上的区别,分析鲁迅为何倾向“黑白之美”与“力之美”代表的黑白木刻版画。并探寻新兴木刻运动中版画是如何一步步成为大众艺术,它又是如何赋予青年版画家以“革命之力”的。Lu Xun(Lu Hsun)is the leader of the New Culture Movement and the promoter of China’s Woodcut Engraving Movement.The 1930s was the period when Lu Xun extensively collected Western prints and collected Japanese Ukiyo-e prints and books.At the same time,Lu Xun held seminars series on woodcut in Shanghai,marking the beginning of China’s emerging woodcut movement.This article focuses on Lu Xun’s Ukiyo-e collection around 1930 and the Western wood-engraving prints he introduced to China.By comparing the content and form of these two,this article focuses on the reason why Lu Xun prefered the black-and-white woodcut prints represented by"the beauty of black and white"and"the beauty of force",and explores how this form of art in the movement gradually become mass art,and how it evokes the"revolutionary force"of the young generation.

关 键 词：鲁迅 木刻版画 浮世绘 大众艺术 

分 类 号：J05[艺术—艺术理论]