先声的回响--20世纪中国对珂勒惠支的接受与认识  

Echo of the Forerunner:The Acceptance and Understanding of K?the Kollwitz in the 20th Century in China

作　　者：冷俊岐 Leng Junqi(Academic Curating Department,Chengdu Art Museum)

机构地区：[1]成都市美术馆学术策展部

出　　处：《美术》2025年第3期78-89,共12页Art Magazine

摘　　要：得益于中国现代版画史研究的持续深入,有关“珂勒惠支与中国”主题的学术成果已经较为丰富。不过,当学界纷纷将目光聚焦于20世纪30年代珂勒惠支与中国版画界的历史初遇,却在无意间忽略了她此后与中国现代版画发展历程所触发的回响。本文意在通过对历史文献的爬梳,追踪珂勒惠支及其版画艺术在20世纪中国艺术界的接受史,考察这位德国女版画家在20世纪中国不同历史语境中的形象变迁,并指出珂勒惠支在20世纪70年代末中国艺术界所达到的历史高度,正是鲁迅及后来者为其革命艺术家形象与现实主义画家身份不断正名的最终结果。Remarkable academic achievements have been made in terms of“K?the Kollwitz and China”thanks to the deepened study of modern Chinese print history.However,when focusing on the encounter between Kollwitz and the Chinese print community in the 1930s,the academic community inadvertently ignored her influence on the development of modern Chinese print.By combing through historical documents,this article traces the acceptance of Kollwitz and her prints by Chinese art community in the 20th Century,and examines changes of her roles in different historical contexts.It points out that the artistic height that she reached in the late 1970s was the result of the efforts of Lu Xun and his successors who believed she was a revolutionary artist and realist painter.

关 键 词：凯绥·珂勒惠支 鲁迅 中国现代版画 接受史 

分 类 号：I20[文学—中国文学]