自然主义、麦绥莱勒与古元20世纪50年代新风格  

Naturalism,Franz Masereel and Gu Yuan's New Style in the 1950s

作　　者：黄碧赫 Huang Bihe(New Art Museum Studies Institute,Guangzhou Academy of Fine Arts)

机构地区：[1]广州美术学院新美术馆学研究中心

出　　处：《美术》2025年第4期78-89,共12页Art Magazine

基　　金：2023年度广东省哲学社会科学规划共建项目《新兴木刻运动中的粤港联动研究》(项目批准号:GD23XYS059)的阶段性研究成果。

摘　　要：20世纪50年代中期,版画创作中繁冗琐碎的“自然主义”倾向引发版画的媒介危机。古元以《祥林嫂》为代表的新风格被树立为克服“自然主义”倾向的模范。这种新风格迥异于古元延安时期的创作,却与其深受麦绥莱勒影响的早期作品一脉相承。20世纪30年代鲁迅对欧洲版画的译介存在工细与豪放两条风格线索,麦绥莱勒的豪放风格曾被鲁迅担心“学之恐有害”,却为纠正“自然主义”倾向提供借鉴。以1958年麦绥莱勒访华与中国个展为契机,麦氏影响力被再次激活,这也是麦绥莱勒与苏联版画两种风格路径的“对垒”在50年代的一次回响。In the mid-1950s,the cumbersome and trivial“naturalist”tendency in creation caused a media crisis in print.The new style of Gu Yuan,represented by that of his print Aunt Xianglin,was established as a model for overcoming the tendency.This new style,though different from the style of prints he created during the Yan'an Period,was consistent with that of his early works deeply influenced by Franz Masereel.The translation of European prints by Lu Xun in the 1930s fell into the two styles of meticulousness and boldness.Masereel's bold style was once worried by Lu Xun that“learning it might be harmful”,but it provided an example for correcting the“naturalist”tendency.Masereel became influential again after he visited China and held his solo exhibition in 1958,which was also a result of the“battle”between the style of Masereel and Soviet print style in the 1950s.

关 键 词：自然主义 鲁迅 麦绥莱勒 古元 

分 类 号：J217[艺术—美术]