新兴版画运动对于民间传统的自觉

The Self-consciousness of the New Woodcut Movement towards Folk Tradition

“走向民众”是20世纪中国美术史上的一条核心线索,而借鉴民间传统是新兴版画运动实现艺术大众化的重要途径。中国新兴版画对于民间传统的自觉,是一个从艺术思想到艺术语言的巨大变革。促成这一变革的,是抗日战争全面爆发之后的特殊历史语境。自1937年抗战全面爆发至1942年延安文艺座谈会的这段时间里,青年木刻家们真正体会到欧化艺术语言与民众欣赏习惯之间的冲突,通过对民间技法的学习与民间形式的尝试,经历了利用民间形式进行宣传的敌我较量,产生了大批吸纳民间传统的版画作品,实现了对于民间传统的自觉。本文通过相关史料的耙梳与历史的铺陈,立体地呈现出新兴版画运动的民族化之路,也具象地勾勒出木刻青年从“亭子间”走向民众,成长为民族美术家的真实过程。

"Going to the folk" is a core clue in the history of Chinese art in the 20 th century, and drawing lessons from folk tradition is an important way for the new woodcut movement to realize the popularization of art. The self-consciousness of China’s new woodcuts towards folk tradition is a great change from artistic thought to artistic language, which was facilitated by the special historical background after the outbreak of the Anti-Japanese War. During the period from the outbreak of the Anti-Japanese War in 1937 to the Yan’an Forum on Literature and Art in 1942, young woodcutters truly realized the conflict between the European artistic language and the people’s appreciation habits.They learned folk techniques and tried folk forms, used folk forms of propaganda to against the enemy, and produced a large number of woodcut works absorbing folk traditions, realizing the self-consciousness of folk traditions. This paper, by sorting relevant historical materials and elaborating the history, vividly displays the nationalization of the new woodcut movement, and concretely outlines the real process of young woodcutters going to the folk from "pavilion" and growing into national artists.