引玉铸魂:鲁迅在20世纪30年代的外国版画求索、购藏与传播  

Forging the Spirit by Importing Prints:Lu Xun's Quest,Purchase and Dissemination of Foreign Prints in the 1930s

作　　者：蒋英 黄心语 Jiang Ying;Huang Xinyu

机构地区：[1]上海大学上海美术学院,上海200444

出　　处：《艺术探索》2023年第3期42-48,共7页Arts Exploration

基　　金：2020年国家社科基金艺术学重大项目“中国近现代美术国际交流文献研究”(20ZD15)子课题“收藏之部”。

摘　　要：引进与传播外国版画是鲁迅晚年定居上海后的重要工作。鲁迅重点引进德俄版画,并在白色恐怖下充分利用租界特殊的文化环境购藏与传播德俄版画。此举不仅实现了他的人才战略目标,也极大地丰富了洋画运动。鲁迅主导的第二次版画东渐不仅改变了中国千年来木刻版画的生产方式,催生了刻绘合一的新兴木刻,而且在鲁迅的引领下,木刻艺术走出国门,展开国际交流。The introduction and dissemination of foreign prints was an important activity carried out by Lu Xun after he settled in Shanghai in his later years.Lu Xun focused on the introduction of German and Russian prints,while making full use of the special cultural environment of the concession under the White Terror,to purchase and disseminate German and Russian prints.By doing so,not only did he achieve a strategic goal,but did also greatly enrich the Western painting movement.The second eastward spreading of Western prints led by Lu Xun changed the thousand year-old production mode of Chinese xylography,enabling the emerging of carving and painting,and further catapulted Chinese xylography on the international stage,thus sparking international exchanges.

关 键 词：鲁迅 德俄版画 新兴木刻 革命美术 西画东渐 

分 类 号：G206[文化科学—传播学] J217[艺术—美术]