民国前期（1912-1936）西方现代木刻在中国的传播

【作者】 郑涛；

【导师】 潘公凯；

【作者基本信息】 中央美术学院 ， 美术史， 2007， 博士

【摘要】 西方现代木刻在中国的传播是新兴木刻运动得以发生和发展的重要因素，本篇论文尝试在晚清以来“西学东渐”的大背景下，用传播学的方法，对这种“文化间的美术传播”进行研究。结果表明，在传入传播基础上发生的本土传播，最晚在二十年代中期就已经出现：一些大众传媒出于各种原因采用西方美术作品作插图，是木刻在中国得到传播的最初原因和相当时期内的重要原因。这使西方现代木刻在中国的传播在两个方面呈现出与同是外来画种的油画的不同之处，首先，它的传播者主要是非美术界的文化出版界人士，其次，它主要通过由这些非专业传播者编辑出版的、在社会上具有一定影响力的大众传播媒介来实现。这两个特点突出说明了以书籍和报刊出版为主的现代大众传媒在美术传播中的重要作用。在1926-1936年的大约十年时间里，西方现代木刻的传播大致可以分成三个阶段，即1、木刻作为“插图”的使用，2、木刻作为“纯艺术”的介绍，3、木刻“本土化”的倡导；这三个阶段分别对应对木刻艺术的不同认识，不同的传播内容和传播目的。鲁迅从介绍木刻到倡导木刻的重要转变出现在1930年左右，其原因是鲁迅认识到木刻不仅可以作为有力的宣传和鼓动工具为中国革命服务，而且是一种符合他一贯的启蒙主义立场，融“创作民主化”、“鉴赏民主化”以及“题材民主化”于一体的“民主化”的艺术。所以，木刻对于鲁迅不仅是服务于“救亡”需要的工具，而且是他针对当时中国新美术的状况提出的一个立足于“启蒙”的方案。更多还原

【Abstract】 The Communication of Modern Western Woodcut in China is an important factor that contributed to the birth and development of the New Woodcut Movement. This dissertation attempts to examine this form of Communication of Art between Cultures in the greater context of the Introduction of Western Learning to the East. The findings show that Local Communication of woodcut, as a result of the Ad Extra Communication, had started at least by the middle of the 1920s, when woodcut was presented as illustrations in Chinese periodicals and books, which accounted for the first appearances and later communication of western woodcut. This makes the communication of woodcut distinctly different from that of oil paint, also an alien art form, in two aspects: firstly, the communicators were mostly from the literature and publishing circles instead of fine artists, and secondly, the communication was realized via modern mass media as in periodicals and books, some with significant social influences, edited by those non-professional communicators. Those two characters underscore the important role of the mass media in communicating art.The communication of modern western woodcut in China between 1926 and 1936 saw three stages: 1. the use of woodcut as illustrations; 2. the introduction of woodcut as a pure art; 3. the advocacy of the localization of woodcut; each with different levels of understanding of the nature of modern woodcut, and with different purposes and contents of communication. The shift of Lu Xun from introducing woodcut to advocating the creation of woodcut took place around 1930, when he realized that woodcut could serve as a powerful propaganda tool for the Chinese revolution, and more importantly, woodcut is an art that is democratic in production, appreciation and subject matter, hence an art form that could also serve his Enlightenment ideas. It is argued that for Lu Xun, woodcut is not only a useful tool that could engage China’s saving-the-nation-from-extinction cause, but more an Enlightenment-based project against the status-quo of the New Fine Arts.更多还原