再塑自我:抗战时期东南木刻运动中的杨可扬  

Reshaping Himself:Yang Keyang in the Woodcut Movement in Southeastern China during the War Against Japanese Aggression

作　　者：刘颖[1,2] Liu Ying

机构地区：[1]中国美术学院 [2]浙江美术馆

出　　处：《美术》2023年第3期97-107,96,共12页Art Magazine

摘　　要：杨可扬的套色木刻是嵌入中国版画记忆的一道时代风景,但这远未含括他获颁“中国新兴版画运动杰出贡献奖”(1991)的多重深意。作为20世纪三四十年代左翼美术革命中的“木刻青年”,从山民子弟“杨嘉昌”到木运中坚“阿杨”,杨可扬文化身份建构的多重性和动态过程脱离不开具体的社会时空与人际网络,以及有关政治、美学、道德层面的认同实践。Color woodcuts created by Yang Keyang were representative in Chinese prints,but this was far from showcasing the profound meaning of him being awarded the "Outstanding Contribution Award for the Emerging Print Movement in China"(1991).From "woodcut youth" in the left-wing art revolution in the 1930s and 1940s,to "Yang Jiachang",a child of mountain people,to "A Yang",one of the hard cores in the woodcut movement,Yang Keyang’s efforts to build multiple cultural identities cannot be separated from a specific environment and networking,as well as common understandings in politics,aesthetics and morality.

关 键 词：杨可扬 现代木刻 东南木刻运动 左翼美术 

分 类 号：J217[艺术—美术] K265[历史地理—历史学]