本文選題：抗戰(zhàn)時期 + 重慶地區(qū)�。� 參考：《重慶師范大學(xué)》2017年碩士論文

【摘要】：二十世紀(jì)三十年代前期,魯迅在中國新文化運(yùn)動左翼文學(xué)運(yùn)動中扮演主將的同時,也肩負(fù)推動新興版畫運(yùn)動的重任�？谷諔�(zhàn)爭全面爆發(fā)后,新興版畫運(yùn)動中心從上海往西遷移,逐漸形成了兩大版畫體系,一個是重慶為中心的大后方,另一個是以延安為中心的邊區(qū)。1942年1月3日,中國木刻研究會在重慶誕生,研究會以重慶總會為中樞,各地方的分會紛紛呼應(yīng),進(jìn)而急訊進(jìn)展成為一場遍及全國的氣勢磅礴的藝術(shù)運(yùn)動。這一時期,以木刻為代表的進(jìn)步美術(shù)運(yùn)動空前繁榮,在我國新興版畫史上寫下了絢麗的篇章�？箲�(zhàn)時期重慶地區(qū)版畫創(chuàng)作以傳揚(yáng)抗戰(zhàn)精神為基本主線;以重慶為中心的大后方為主要舞臺。在宣傳鼓舞、抨擊敵方、戰(zhàn)事民眾、后方建設(shè)等四大創(chuàng)作題材整理與提煉下,運(yùn)用浪漫主義、現(xiàn)實(shí)主義的藝術(shù)表現(xiàn)形式,以刻刀為工具,形象地反映戰(zhàn)爭,表達(dá)版畫藝術(shù)工作者對人生、社會的認(rèn)識和情感,宣揚(yáng)天下興亡、匹夫有責(zé)的愛國精神,共抵外敵的大局觀念,百折不屈的堅勝信念,不懼強(qiáng)暴、浴血奮戰(zhàn)的英雄氣概,奮發(fā)圖強(qiáng)、獨(dú)當(dāng)一面的民族意志,除惡揚(yáng)善、維護(hù)和平的人類主張,給人們以藝術(shù)精神力量的版畫創(chuàng)作。從抗戰(zhàn)時期重慶地區(qū)版畫創(chuàng)作題材、藝術(shù)表現(xiàn)的形成的過程梳理,到自我版畫創(chuàng)作實(shí)踐,不僅是對從“五四”新文化運(yùn)動啟蒙中對美術(shù)變革理解,同樣也是在為人民服務(wù)和爭取民族解放的革命美術(shù)之路上,木刻版畫藝術(shù)在重要?dú)v史成就的中扮演著革命先鋒角色的一次全新認(rèn)識。
[Abstract]:In the early 1930s, Lu Xun played the leading role in the left-wing literary movement of the Chinese New Cultural Movement, but also shouldered the important task of promoting the emerging print movement. After the outbreak of the War of Resistance against Japan, the center of the emerging print movement moved westward from Shanghai and gradually formed two major print systems, one being the rear area with Chongqing as the center, and the other being the border area with Yan'an as the center. On January 3, 1942, China Wood carving Research Association was born in Chongqing, the research association with the Chongqing General Assembly as the center, local chapters have echoed, and then the rapid development of a nationwide momentum of the art movement. In this period, the progressive art movement represented by wood carvings flourished, and a splendid chapter was written in the history of new prints in China. During the War of Resistance against Japan, the creation of prints in Chongqing took spreading the spirit of the War of Resistance as the basic thread and taking Chongqing as the center of the rear area as the main stage. Under the arrangement and refinement of the four major creative themes of propaganda and encouragement, attacking the enemy, the people in the war, and building the rear, the art forms of romanticism and realism are used to vividly reflect the war with a knife as a tool. To express the knowledge and feelings of printmakers on life and society, to preach the patriotic spirit of rising and falling in the world and equal responsibility, to reach the overall interests of the foreign enemy, to be unyielding and firm in their conviction of victory, not to fear rape, and to fight heroically in a bloody battle. Strenuous, unique national will, to eliminate evil and promote good, maintain peace of human opinion, give people with artistic spiritual force of print creation. From the subject matter of prints creation and the forming process of artistic expression in Chongqing area during the Anti-Japanese War period, to the practice of self-engraving, it is not only to understand the art reform from the enlightenment of the May 4th New Culture Movement. It is also a new understanding of the revolutionary art of serving the people and fighting for national liberation, and the woodcut art plays a revolutionary vanguard role in the important historical achievements.
【學(xué)位授予單位】：重慶師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J217

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本文編號：1945325