本文選題：桂林 + 抗戰(zhàn)時(shí)期��； 參考：《廣西師范大學(xué)》2014年碩士論文

【摘要】：中國(guó)的木刻版畫有著悠久的傳統(tǒng),早期的木刻版畫大都在章回小說中起到插圖的作用。而魯迅先生于20世紀(jì)30年代發(fā)起的新興木刻版畫運(yùn)動(dòng)使這一傳統(tǒng)木刻版畫煥發(fā)了新的生命力,木刻版畫選題關(guān)注社會(huì)現(xiàn)實(shí)問題、創(chuàng)作技法通俗易懂和藝術(shù)感染力著眼于廣大群眾。中國(guó)木刻版畫在抗日戰(zhàn)爭(zhēng)中的宣傳和鼓舞作用是十分顯著的,不論是解放區(qū)、國(guó)統(tǒng)區(qū)還是淪陷區(qū),木刻工作者創(chuàng)作的木刻版畫都在宣傳抗日和喚起民眾上起到了十分重要的作用。 在魯迅先生的積極倡導(dǎo)下,中國(guó)的新興木刻運(yùn)動(dòng)快速發(fā)展壯大。而當(dāng)時(shí)的桂林,是國(guó)統(tǒng)區(qū)的文化重鎮(zhèn),以西南文化名城而享譽(yù)國(guó)內(nèi)外,作為國(guó)統(tǒng)區(qū)的文化中心區(qū)域,它的文化背景和歷史背景都很特殊。桂林的抗戰(zhàn)木刻在我國(guó)現(xiàn)代藝術(shù)史上是非常重要的一環(huán),有著不可磨滅的歷史功績(jī)和非凡的藝術(shù)研究?jī)r(jià)值。桂林抗戰(zhàn)木刻不僅是桂林抗戰(zhàn)文化研究的重要內(nèi)容,也是廣西抗戰(zhàn)文化研究的重要內(nèi)容,在推進(jìn)桂林和廣西甚至全國(guó)的抗戰(zhàn)中都起著積極的作用。對(duì)桂林抗戰(zhàn)木刻版畫的鉆研,不能僅僅停留在對(duì)一些特定活動(dòng)或具體問題的考察,也不能局限于簡(jiǎn)單的復(fù)制和還原歷史現(xiàn)象,而應(yīng)當(dāng)深思在那個(gè)烽火連天的時(shí)代激勵(lì)著中華民族萬眾一心抵抗帝國(guó)主義侵略的抗戰(zhàn)文化中所蘊(yùn)含的偉大民族精神和時(shí)代精神。正是出于這一動(dòng)機(jī),本文力圖在對(duì)桂林抗戰(zhàn)木刻全景式考察的基礎(chǔ)上,以桂林抗戰(zhàn)木刻發(fā)展的特點(diǎn)為切入點(diǎn),對(duì)桂林抗戰(zhàn)木刻版畫所包含的精神進(jìn)行深入挖掘和提煉。 本論文堅(jiān)持唯物主義的觀點(diǎn)和實(shí)事求是的態(tài)度,在前人研究的基礎(chǔ)上,主要運(yùn)用文獻(xiàn)研究法和考察調(diào)研法這兩種研究方法通過對(duì)相關(guān)史料的挖掘,文史館的調(diào)研考察以及對(duì)相關(guān)文化名人的采訪,收集了大量錯(cuò)綜復(fù)雜的與抗戰(zhàn)時(shí)期桂林木刻版畫相關(guān)的文史資料和-些罕見的書面資料。認(rèn)真進(jìn)行整理、分析和歸納,通過梳理抗戰(zhàn)時(shí)期桂林木刻版畫產(chǎn)生的時(shí)代歷史背景以及發(fā)展的概況,在歸納桂林木刻版畫的藝術(shù)特征以及它與延安和重慶木刻版畫的聯(lián)系和區(qū)別的基礎(chǔ)上,進(jìn)一步分析桂林木刻版畫在當(dāng)時(shí)的影響和它的歷史意義。 全文共分為四個(gè)部分： 第一部分,主要介紹抗戰(zhàn)時(shí)期桂林木刻版畫繁盛的條件及發(fā)展概況。文章從木刻版畫的發(fā)展脈絡(luò)開始闡述,分析了抗戰(zhàn)時(shí)期桂林優(yōu)越的地理位置、國(guó)民黨當(dāng)時(shí)在桂林的基本文化政策、抗戰(zhàn)時(shí)期桂林的政治環(huán)境,最后總結(jié)抗戰(zhàn)時(shí)期桂林抗戰(zhàn)木刻的發(fā)展概況。 第二部分,主要介紹抗戰(zhàn)時(shí)期桂林木刻版畫的藝術(shù)特征。當(dāng)時(shí)在桂林的著名木刻家有很多,如李樺、黃新波、賴少其、龍廷壩、陳更新、易瓊等等,通過對(duì)當(dāng)時(shí)在桂林木刻家們的作品的分析和解讀,來闡述桂林木刻版畫的藝術(shù)特征,并深入挖掘這些作品的深刻內(nèi)涵。 第三部分,主要介紹桂林木刻版畫與延安、重慶抗戰(zhàn)木刻版畫的聯(lián)系與區(qū)別。通過對(duì)木刻版畫當(dāng)時(shí)在桂林、延安、重慶這三個(gè)地方興起的背景,表現(xiàn)題材、藝術(shù)手法等幾個(gè)方面全面闡述他們的聯(lián)系與區(qū)別。 第四部分,主要介紹木刻版畫在當(dāng)時(shí)的影響以及歷史意義。對(duì)全文進(jìn)行總結(jié),突出主旨。
[Abstract]:The woodcut prints in China have a long tradition, and most of the early woodcut prints play a role in illustrations. The new woodcut print movement launched by Mr. Lu Xun in 1930s makes this traditional woodcut print radiating new vitality. The selection of woodcut prints is related to social reality, and the creative techniques are easy to understand and are easy to understand and understand. The artistic appeal is focused on the masses. The propaganda and inspiring role of Chinese woodcut print in the war of resistance against Japan is very significant. Whether it is in Jiefang District, the Kuomintang or the occupied areas, woodcut prints created by woodcut workers have played an important role in propaganda and evoking of the people.
Under the active advocacy of Mr. Lu Xun, the new woodcut movement in China has developed rapidly. At that time, Guilin was the Cultural heavy town in the Kuomintang region. It was famous both at home and abroad in the southwest culture city. As the cultural center area of the Kuomintang region, its cultural background and historical background were very special. The Guilin's anti war woodcut was in the history of modern art in China. It is a very important link, with an indelible historical merit and extraordinary artistic value. Guilin Anti Japanese woodcut is not only an important content of the study of the Anti Japanese War Culture of Guilin, but also an important part of the study of the Anti Japanese War Culture in Guangxi. It plays a positive role in promoting the Anti Japanese war in Guilin and Guangxi even in the country. The study of painting can not only stay in the investigation of some specific activities or specific problems, but also can not be limited to the simple reproduction and reduction of historical phenomena, but we should think deeply about the great national spirit and time essence contained in the Anti Japanese war which inspired the Chinese nation to resist imperialist aggression. Because of this motive, this article tries to dig and extract the spirit of the Guilin engraving in the woodcut of the Anti Japanese war on the basis of the panoramic investigation of the woodcut of the Anti Japanese war on the Guilin and the characteristics of the development of the Guilin Anti Japanese woodcut.
On the basis of the predecessors' research, this paper, based on the previous research, mainly uses the two methods of literature research and investigation and investigation. Through the excavation of relevant historical materials, the investigation and investigation of the Museum of literature and history, and the interviews with related cultural celebrities, a large number of complex and anti Japanese War Guilin have been collected. The literature and history of woodcut prints and rare written materials are carefully arranged, analyzed and summed up, through combing the historical background and development of the woodcut prints of Guilin during the Anti Japanese War, summarizing the artistic features of Guilin woodcut engraving and the connection and difference between the woodcut and Yanan woodcut prints. To further analyze the influence and historical significance of Guilin woodcut prints at that time.
The full text is divided into four parts:
The first part introduces the conditions and development of the woodcut prints of Guilin in the period of the Anti Japanese war. The article begins with the development of the woodcut prints, analyzes the geographical position of Guilin in the period of the Anti Japanese War, the basic cultural policy of the Kuomintang at the time in Guilin, the political environment of the Japan during the war of resistance against Japan, and finally summed up the anti war Anti Japanese war. A general survey of the development of war wood engraving.
The second part mainly introduces the artistic features of the woodcut woodcut of the Guilin during the Anti Japanese war. There were many famous woodcarver in Guilin, such as Li Hua, Huang Xinbo, Lai Shaoji, dragon dam, Chen renewal, and Yi Qiong. Through the analysis and reconciliation of the works of the Guilin woodcarver at that time, the artistic features of the woodcut prints of the Guilin were expounded and excavated in depth. The profound connotation of these works.
The third part mainly introduces the connection and difference between the woodcut prints of Guilin and Yanan and Chongqing Anti Japanese woodcut engraving. By the background of the rise of the woodcut engraving in Guilin, Yanan and Chongqing at that time, the themes and the artistic techniques of the woodcut are fully expounded and the differences between them.
The fourth part mainly introduces the influence and historical significance of woodcut prints at that time.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J217

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本文編號(hào)：1957809