李桦的木刻版画对表现主义的红色改造(1935-1947年)

The Red Transformation of Expressionism by Li Hua’s Woodcut Prints(1935-1947)

鲁迅为实现革命宣传将德国表现主义的版画形式引入中国,由此促进了中国现代红色版画的发展,一批优秀的版画创作者迅速成长起来。李桦作为群体中的一员,有过留日经历的他深受表现主义的影响,但纯粹的德国表现主义不能为我国红色宣传之用,中国的红色符号的融入使中国现代版画无论在风格还是题材内容方面,都能更好地转向大众化艺术。文章将重点讨论李桦在哪些方面对木刻版画进行了红色改造以及对红色符号进行解读,从而探讨其产生的作用以及与大众之间的关系。

In order to realize revolutionary propaganda,Lu Xun introduced German Expressionism into China,which promoted the development of Chinese modern red prints,and a group of excellent print creators grew up rapidly.As a member of the group,Li Hua,who had studied in Japan,was deeply influenced by expressionism.However,pure German Expressionism can not be used for our country’s red publicity.The integration of red symbols suitable for China makes Chinese modern print better turn to popular art in terms of style and subject matter.In this article,we will focus on what aspects of Li Hua’s wood engraving red transformation and interpretation of red symbols,so as to explore its role and the relationship with the public.