论抗日根据地木刻艺术

Woodcut Art in the Anti-Japanese Base Areas

抗日根据地的木刻及版画是在特定政治、军事、经济和文化氛围中发展起来的。抗日根据地木刻的民间元素、政治元素、信仰元素,表现在题材、分量、体积等方面,构成独特的艺术形式,蕴含着革命美学特征,体现解放区文艺的"文化惯例",反映特定历史条件下的文艺生态的独特性。值得反思的是抗日根据地木刻所反映的艺术并非开放性的,具有一种非常投入的辩护性精神导向,服务于党的政治议程。

In the anti-Japanese base areas, the art of woodcuts and engravings was developed in a special political, military, economic and cultural atmosphere. The folk elements, political elements, faith elements of those woodcuts, as embodied in theme, weight, volume, etc. compose a unique form of art, containing the revolutionary aesthetic characteristics, refl ecting the ＂cultural practices＂ of the liberated area literature and art and the unique nature of the special historical conditions of the literary ecology. What is worthy of refl ection is that the woodcut art of in the Anti- Japanese base is not open, and it has a defensive spiritual orientation that serves the Party＇s political agenda.