【作者】 丁卯；

【导师】 杨锋；

【作者基本信息】 西安美术学院 ， 美术学， 2014， 博士

【副题名】A Study on Woodcut of the Liberatedareas Within Historical Vista (1937-1945)

【摘要】 在中国近现代美术史上，解放区木刻是与中国革命的政治宣传史结合最为紧密的艺术表现形式之一，也是中共为取得抗战胜利和夺取国家整体权力目标的重要宣传手段。这些作品成为“文艺武器”和宣传工具，被政治赋予了极强的宣传功能；尤其是在延安整风运动和大量出版发行毛泽东《在延安文艺座谈会上的讲话》著作之后，不论是宣传主题和宣传策略，还是图像表现和故事叙事，都完整地体现出威权政治时期宣传工具的特征，具有服务于政治实用主义的宣传特性，最终作为新兴无产阶级国家艺术的典型“范式”，成为新中国美术的源头。本文强调在历史视域下进行解放区木刻研究，其重点在于探索解放区木刻的政治文化根源。既有对中国古代传统木刻与古代传统社会文化的历史分析，也有近代中国现代民主政治演变过程的映照。虽然解放区木刻表现为无产阶级新兴的艺术，从形态上是以反映现实斗争为目的的“现实主义”叙事形式出现，但在本质上，它依然没有脱离中国传统政治思想史的桎梏，因而并不具有现代性。笔者以抗战时期的解放区木刻作品为研究样本，透过历史研究与文献分析的方法，结合政治学、宣传学、社会学的理论研究成果，论证解放区木刻的政治宣传功能演变和发展过程，以及在这一过程当中，中共政治宣传理念与中国传统政治文化观念之间的内在联系。本文在结构上分为上编和下编。上编“中国传统木刻与新兴木刻”是一个宏观的历史资源背景。主要论述作为无产阶级新兴艺术的解放区木刻形成的历史文化背景，传统木刻印刷图像的传播，包括中国传统木刻、新兴木刻以及德国表现主义木刻。其中也涉及权力与伦理教化、技术复制与图式传播、新兴木刻与西方木刻的传播等。下编“解放区木刻研究”为论文正文的核心部分，内容涉及陕甘宁地区历史文化背景与解放区木刻的内在关联性和潜在的影响；其中集中论述了艺术创作与政治宣传的关系；张闻天的文艺思想对解放区木刻早期形态的影响；鲁艺教育方针如何从正规化、专业化的要求出发，继而走向政治宣传教育体制。党的文艺方针作为指导思想通过艺术实践活动发挥作用，体现在与工农兵结合，为工农兵服务，创作大众“喜闻乐见”的木刻作品。由政治命题引导出的“大众化”和“民族化”，关涉解放区木刻研究中许多方面的问题，而作者的政治身份也决定了解放区木刻的政治属性。他们必须服从党的组织纪律，执行并服务于党的方针政策，这是经过延安整风运动的“灵魂清洁”，贯彻《讲话》精神和知识分子思想改造的成果。因而作为政治宣传工具的解放区木刻，其教学、创作和传播活动，都是实用主义和功利主义的宣传艺术行为。透过以政治宣传为艺术目的的解放区木刻研究，笔者只是期望提供有关解放区木刻研究的不同范畴与省思空间，以弥补国内相关课题研究的不足。更多还原

【Abstract】 In Chinese modern art history, woodcut of the liberated areas is the art form that has theclosest connection with revolutionary political propagandas, and is also an importantpropaganda approach that helped the Communists to win the Sino-Japanese War and to obtainthe national power. This works have become “art weapons” and propaganda tools, endowedwith fairly strong propaganda functions. Especially after Yan’an Rectification Movement andwidely published “Talks at the Yan’an Forum on Literature and Art” by Mao Zedong, bothpropaganda themes and strategy, and imagery expression and story narrative, had alldemonstrated complete characteristics of propaganda tools for an authoritarian political period,with propaganda features serving realpolitik, thus eventually became the typical “paradigm”for the emerging proletarian national art, and the origin of New China’s art.This dissertation studies on woodcut of the liberated areas within a historical scope,focusing on its cultural-political origins, with historical analysis on traditional Chinesewoodcut and traditional social culture, and reflections on the evolution of modern Chinesedemocratic politics. The woodcut of the liberated areas has been demonstrated as a newemerging proletarian art, with a formal appearances as a “Realist” narrative objectives ofreflecting the real struggles; In essence, however, it was still bonded by Chinese traditionalpolitical thoughts, resulting in a lack of modernity. The author uses the woodcut of theliberated areas during the Sino-Japanese War as specimens, applying historical studies anddocuments analysis, with theoretical research advancement achieved in political studies,propaganda studies, and sociology, to demonstrate the functional evolution and development procedure of political propaganda of it, and the intrinsic connections of the Communist’spropaganda ideas and Chinese traditional political cultural concepts of the process.This dissertation is divided into two parts. The first part, Chinese traditional woodcut andemerging woodcut, provides a broad historical background. It discusses the cultural andhistorical background of the forming of woodcut of the liberated areas as an emergingproletarian emerging art, regarding the Chinese traditional woodcut, merging woodcut, andGerman Expressionist woodcut. It also touches on issues about power and ethic cultivation,technological reproduction and image dissemination, spread of emerging and Westernwoodcut, etc.The second part provides the main argumentative core of the dissertation, regardingcultural and historical background of Shaanxi-Gansu-Ningxia region and its intrinsicconnections and potential influence on woodcut of the liberated areas. It argues about therelation between art creation and political propaganda, thoughts on art of Zhang Wentian andits impacts on early woodcut of the liberated areas, the educational guideline of Luxun ArtSchool which started from a formal and professional request and turned toward educationalstructure for political propaganda. The Communist Party’s art guidelines as guiding principles,functioned through art practices, realized in integration with and serving for the workers,farmers, and soldiers, and producing woodcut works that is “delighted received” by thegeneral populace. The politically themed “popularization” and “nationalization”, has multipleimpacts on issues related to woodcut of the liberated areas, and the political identity of theartists dictates the political identity of woodcut of the liberated areas as well. They must obeythe Communist Party’s rules, serving and implementing Communist Party’s policies, as aresult from “soul cleansing” of Yan’an Rectification Movement, and implementation of theessence of Talks at the Yan’an Forum on Literature and Art, and remodeling of intellectual’smind. Therefore, woodcut of the liberated areas as a political propaganda tools, its teaching,creating, and disseminating activities, are all pragmatist and utilitarian art activities.For the studies on woodcut of the liberated areas with political propaganda as art objectives, the author hopes to provide an alternative scope and thinking realm for its study, inorder to fill the gap of previous researches done by domestic and foreign colleagues.更多还原