论抗战时期桂林版画的时代特征——革命性与战斗性  

ON THE CHARACTERISTICS OF GUILIN PRINTS DURING THE ANTI-JAPANESE WAR——REVOLUTIONARY AND STRUGGLE

作　　者：李波 唐培豪 LI Bo;TANG Pei-hao(School of Ceramics and Design,Beibu Gulf University,Qinzhou 535011,China;Faculty of Built Environment,University of Malaya,Kuala Lumpur,50603,Malaysia)

机构地区：[1]北部湾大学陶瓷与设计学院,广西钦州535011 [2]马来亚大学建筑环境学院,马来西亚吉隆坡50603

出　　处：《南阳理工学院学报》2024年第5期54-57,96,共5页Journal of Nanyang Institute of Technology

基　　金：2021年国家社科基金一般项目(21BZS132)。

摘　　要：抗战时期,桂林作为重要的抗战大后方文化中心城市之一,聚集了来自全国的各类美术工作者近三百人,其中知名木刻家就多达数十位,这些木刻家在救亡运动中,动员抗战、鼓舞抗战斗志,宣传抗战必胜信念,转变成了革命的艺术家,他们创作了许多极富战斗性的木刻艺术作品,发挥了艺术表现社会现实、反映时代精神的功能,从而使桂林抗战版画呈现出了鲜明的富于时代气息的革命性和战斗性。During the Anti-Japanese War,Guilin,as one of the important cultural centers in the rear area of the Anti-Japanese War,gathered nearly 300 artists,including dozens of well-known woodcarving artists.During the national salvation movement,these woodcarving artists mobilized the Anti-Japanese War and encouraged the morale of the Anti-Japanese War,and many revolutionary artists and highly struggle spirits woodcarving artworks emerged in the propaganda of the belief of victory in the Anti-Japanese War.It gives full play to the function of artistic expression of social reality and reflection of the spirit of that time,so that Guilin Anti-Japanese War prints show a distinctive revolutionary and sstryggle character rich in the atmosphere of that time.

关 键 词：抗战时期 桂林版画 革命性 战斗性 

分 类 号：J227[艺术—美术]