中华人民共和国成立初期的抒情风格版画  

Prints that Expressed Artists’ Feelings and were Created in the Early Period of the People’s Republic of China

作　　者：于子亮 宋小华 Yu Ziliang;Song Xiaohua

机构地区：[1]江西师范大学美术学院 [2]西安美术学院 [3]江西农业大学园林与艺术学院

出　　处：《美术》2022年第11期136-138,共3页Art Magazine

基　　金：江西省高校人文社会科学研究2021年度项目“建国初期中国版画风格研究(1949—1958)”(编号:YS21243)的阶段性研究成果。

摘　　要：纵观中国版画的发展脉络,古代版画更多强调“雕版”的功能性因素,而艺术性相对缺乏。新兴木刻运动使版画走上了一条现实主义的道路,同时分化出“国统区木刻”“解放区木刻”两种风格样态。中华人民共和国成立初期,环境的变化使得中国版画从题材到表现方式都趋向抒情性表达。本文认为中国现代版画经历了“新兴木刻”“国统区木刻”“解放区木刻”等不同阶段的变化,至1949年到1958年间发展出一种抒情版画风格,这种风格的出现与版画本体语言的自觉、民族化审美特性及艺术自律性有关。In China, ancient prints focused more on the functions of “engraving” than artistic elements, whereas modern prints pursued modernism due to the emerging woodcut movement in the 1930s, which divided them into two styles: prints created in regions ruled by Kuomintang(KMT) and those created in liberated regions. In the early period of the People’s Republic of China, changes in national conditions promoted artists to use different genres and ways of expression to express their feelings in prints. This paper believes that modern prints in China, witnessing a change of style from “emerging woodcut” to “prints created in regions ruled by Kuomintang(KMT)” and “those created in liberated regions”, developed a style of expressing feelings from 1949 to 1958, whose emergence was related to the art ontology of prints, aesthetic features of the Chinese nation and the autonomy of art.

关 键 词：新中国版画 本体语言 抒情风格 民族风格 

分 类 号：J205[艺术—美术]