摘要
1934年,鲁迅在《木刻纪程》的小引里写道:'中国木刻图画,从唐到明,曾经有过很体面的历史。但现在的新的木刻,却和这历史不相干。新的木刻,是受了欧洲的创作木刻的影响的。创作木刻的介绍,始于‘朝花社’,那出版的《艺苑朝华》五本虽然选择印造,并不精工,且为艺术名家所不齿,却颇引起了青年学徒的注意。到1931年夏,在上海遂有了中国最初的木刻讲习会。'这段话言简意赅地讲述了中国新兴木刻的由来。尽管中国有着千年以上的传统木刻历史,但时至近代,所谓传统早已是没落的贵族,等待新青年的几乎全然是西式的、崭新的世界。
China has more than one thousand year history of traditional wood engraving, but in modern China, the so-called tradition was like a downfallen nobility. Woodcut art seemed to be a brand new western world for the youth during that time. Lu Xun, a renowned Chinese writer, spared no effort to introduce the European prints to China, which had a major influence on young print artists to create wood engraving works. The emerging wood cut art has made outstanding achievements in a very short time. A large group of progressive young artists devoting themselves into the wood cut arts is the important cultural force in the revolution path of modern China.
