木刻运动的推行机——抗战时期敌后根据地的木刻工场  

Driving Force Behind Woodcut Movements:Woodcut Factories in Backstage Revolutionary Bases During the War of Resistance Against Japanese Aggression

作　　者：张向辉 刘建理[2] Zhang Xianghui;Liu Jianli(Hubei Institute of Fine Arts;Fine Arts School,Yunnan Arts University)

机构地区：[1]湖北美术学院 [2]云南艺术学院美术学院

出　　处：《美术》2024年第5期75-83,共9页Art Magazine

基　　金：国家社科基金艺术学项目《新中国军事题材美术图像志研究》(项目编号:22EF207)的阶段性研究成果。

摘　　要：成立于抗战时期敌后根据地的木刻工场,虽然因为战争的原因,工作场所并不稳定,设备也极其简陋,但所建之处,吸纳和培养了不少抗战时期美术宣传工作所需的工人与木刻创作者,有效地配合和服务了敌后抗日宣传的现实需要,在敌后方的美术运动中发挥了重要作用。本文探讨了木刻工场成立的时代背景、建立的过程、服务宗旨及其历史贡献等几个方面,并在此基础上,循着木刻工场的历史轨迹,分析了木刻工场在中国新兴木刻运动中所发挥的积极作用,以及在新年画的创新和开启现代版画工作室早期“工作坊”模式等方面所发挥的特殊意义。Woodcut factories established in backstage revolutionary bases during the War of Resistance against Japanese Aggression,despite unstable working conditions and rudimentary equipment,attracted and trained many workers and woodcut artists needed for art publicity during the War of Resistance,providing support and services for backstage publicity and playing an important role in backstage art movements.This article discusses the background,process,purposes of service and historical contributions of woodcut factories,and on this basis,following the historical trajectory of these factories,analyzes the positive role played by them in emerging woodcut movements in China and their special significance in innovating New Year paintings and opening up the early“workshop”model ofmodern print studios.

关 键 词：木刻工场 抗战美术 彦涵 宣传画 新年画 

分 类 号：J217[艺术—美术] K269.5[历史地理—历史学]