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中国新兴木刻运动,无疑是这样一部历史:从本世纪初的一个“讲习班”,迅速壮大成为新文化运动中的一支主力。其强有力的表现形式,又使木刻转变为“新”的“革命”的“生命”象征。在半个多世纪中,新的木刻事实上已属于一门独立的艺术。而今天审视这段匆匆过去的木刻史,总会让木刻人多少带有点悲惜。与世纪初反之,四大画种之一的木刻版画,其存在发展的命运受到挑战,一个大画种变为小画种。时至今日,这个“小画种”又正在发生质的转变,这是中国版画史的定数与无法回避的现实。 “时论”总是主观的,而回顾刚刚过去的历史也难免带有情感因素,我们在无法更远距离遥视那段木刻史的今天,选择情感化的具体史实为研究对象,就是对事实的补充与完善。因为,在众多的版画研究中,一部新兴木刻史已演化为一部发起人与组织者的历史。当所谓的主流已成为词典中的词条后,关心艺术内核发生、
The emerging woodcut movement in China undoubtedly is such a history that from the “workshop” of the beginning of this century, it has rapidly grown to become a major force in the New Culture Movement. Its powerful manifestation also turns woodcut into a symbol of the “new” “revolution” of “life.” For more than half a century, the new woodcut is in fact an independent art. Today, reviewing this hurried past history of woodcuts, always make woodcutters with a little pity. In contrast with the beginning of the new century, woodblock prints, one of the four major art species, have been challenged in their existence and development. A large type of painting has become a small type of painting. Today, this “small painting” is undergoing a qualitative change. This is a definite and unavoidable reality in the history of Chinese printmaking. The “theory of time” is always subjective, and it is inevitable to recall the history of the past just with emotional factors. When we can not remotely view that woodcut history for a long distance, we can choose the specific historical facts of emotion as the object of study. Complement and improve. Because, in numerous printmaking studies, a new history of woodcut has evolved into a history of promoters and organizers. When the so-called mainstream has become the entry in the dictionary, care about the art kernel occurs,