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藝術與革命——中國新興版畫運動1930至1949
展覽方案
Art and Revolution: China's New Woodcut Movement (1930-1949)
Plan of the Exhibition
展覽理念
Exhibition concept
20世紀30年代，由中國現(xiàn)代偉大的文學家、思想家魯迅先生倡導的具有現(xiàn)實主義激情的中國新興木刻運動掀開了中國美術史上極為重要的一頁。版畫，中國自古就有，但由藝術家獨立創(chuàng)作完成而不假工匠之手的新興木刻運動卻是中國現(xiàn)代版畫藝術的開端。二十世紀上半葉的中國，內憂外患，民不聊生。在這片苦難的土地上發(fā)展起來的新興木刻運動與蓬勃洶涌的民族解放斗爭緊密地結合起來，是這場運動留給中國藝術史的最大特征。
In the 1939s, China's New Woodcut Movement, a movement with realistic passion advocated by the great modern writer and thinker Lu Xun, opened up a crucial chapter in the history of Chinese fine arts. Though woodcut had existed since ancient times, the movement, which involved artists' creation independent of the work of artisans, marked the beginning of modern Chinese woodcut. In the first half of the 20th century, China was beset by troubles at home, aggression from abroad, and her people lived in dire poverty. Conceived on this land of misery, the movement was closely connected with the surge of the national liberation movement. That is the most indelible mark it left on the Chinese art history.
1931年夏，魯迅先生在上海舉辦了“暑期木刻講習會”，邀請日本美術教師內山嘉吉先生講授木刻理論和技巧，由魯迅先生親自擔任翻譯和講解。講習會時間很短，但卻培養(yǎng)了一批青年版畫家，他們后來均成為中國現(xiàn)代版畫發(fā)展的中堅力量。這個講習會被認為是中國新興版畫運動的開端，但事實上，在上世紀二十年代，魯迅先生就通過舉辦版畫展覽會和編印大量的版畫畫集將歐洲和日本的木刻作品引入了中國。這些畫集是中國最早介紹國外木刻作品的畫集，其中很多由魯迅先生親自設計封面、版式及撰寫引言、附記，足見魯迅先生對版畫推廣的重視。在眾多的國外版畫家中，魯迅先生對德國版畫家珂勒惠支、梅斐爾德和比利時版畫家麥綏萊勒等一批具有現(xiàn)實主義反叛精神的版畫家最為推崇。他認為在當時的世界美術中，他們的藝術是最貼近人民、關懷人民的藝術，是愈看愈有動人之力的藝術，是做了犧牲的人民的沉默的聲音，是為人類爭取消滅剝削和戰(zhàn)爭的有力武器。這種具有強烈生命力的藝術正是積弱的中國所需要的。
In the summer of 1931, Lu Xun held the Summer Woodcut Seminar in Shanghai. He invited Japanese art teacher Uchiyama Kakitsu to teach the theory and techniques of woodcut, and personally served as the interpreter and teaching assistant. Though it lasted for a short time, the seminar trained a number of young woodcutters, who became the elite of the development of modern Chinese woodcut. Though it is considered the beginning of China's New Woodcut Movement, in as early as the 1920s, Lu Xun had introduced European and Japanese woodcut into China through woodcut exhibitions and many woodcut albums. These were the first albums of foreign woodcuts in China, and Lu Xun showed the importance he attached to the promotion of the art form by designing the covers and formats and wrote the introductions and remarks for many of them. Of all the foreign woodcutters, the most revered by Lu Xun are rebellious realists, such as Kathe Kollwitz and Carl Meffert from Germany and Franz Masereel from Belgium. In his opinion, among world fine arts, their art was the closest to and most concerned with the people; its appeal would grow with appreciation, for it was the silent voice of sacrificing people and mankind's powerful weapon for eliminating exploitation and war. That kind of art, with a strong vitality, was badly needed by the weak nation.
在魯迅先生的大力扶植和保護下，一大批青年藝術家投身到了版畫的創(chuàng)作中；新興版畫團體如雨后春筍般涌現(xiàn)。他們抱著“為社會而藝術”的信念，深入人民大眾的生活，體察他們的疾苦，創(chuàng)作出大量反映人民生活、斗爭的現(xiàn)實主義作品，以畫筆為武器，表達或同情，或憤怒，或批判的感情，描繪出了人民的困苦與呼聲，為中國美術史留下了具有鮮明時代特色的版畫作品。這些作品一方面吸收借鑒了歐洲版畫富于表現(xiàn)性的技法和語言，一方面為了更好地被中國的大眾所理解而融入了中國的一些傳統(tǒng)特色和民間趣味，形成了中國藝術現(xiàn)代化進程中的一個活力分支，在革命年代起到廣泛而深刻的宣傳和鼓舞作用。
Thanks to Lu Xun's vigorous support and protection, a large number of young artists devoted themselves to woodcut and new woodcut groups mushroomed. With the idea of 'art for society's sake', they lived among the people, felt their sufferings, and created plenty of realistic works reflecting their life and struggle. With the graver as their weapon, they expressed sympathy, indignation or criticism and depicted people's tribulations and appeals, leaving works distinctly characteristic of the times in the Chinese art history. On the one hand, these works incorporated expressive techniques and language of European woodcut; on the other hand, they absorbed traditional features and folk taste so as to be more easily understood by the masses. They formed a vigorous branch of the modernization of Chinese art and played a far-reaching role in propaganda and encouragement in the revolutionary era.
在整個二十世紀上半葉中國的藝術活動中，新興木刻運動的規(guī)模和對后世的影響力是其他團體和流派不能比擬的。本次展覽就是對這一藝術運動的集中展示。以藝術與革命為題是對這一運動在那個特殊的歷史時期與國家命運休戚與共的昭示。
Of all the Chinese artistic activities throughout the first half of the 20th century, the New Woodcut Movement had an influence on posterity incomparable with that of any other group or school. This exhibition is a focused display of that movement. The title 'Art and Revolution' indicates its inextricable link with the destiny of the nation during that special era.
展覽結構
The structure of the exhibition
展覽以時間和內容為線索，分為四個部分：
The exhibition is divided into four parts according to time and contents.
1. 新興的萌芽
段首：
時代是在不息地進行，現(xiàn)在新的、年輕的、沒有名的作家的作品站在這里了，以清醒地認識和堅強的努力，在榛莽中露出了日見生長的健壯的新芽。自然，這是很幼小的。但是，惟其幼小，所以希望就正在這一面。
——《一八藝社習作展覽會小引》
1931年5月
1. The budding
Introduction
The times advance incessantly. Here are works by new, young and unknown artists, putting forth growing, robust buds in brambles with sober awareness and tenacious efforts. Surely they are tender, yet in their very tenderness lies hope.
--'Introduction to the Exhibition of Studies of the ... Art Society, May 1931
2．民主的吶喊
段首:：
中國新興的木刻，一開始，它就是在斗爭的。七年以來，由于我們的偉大的魯迅先生之領導，由于從事木刻同志們的血的洗禮，和自身的艱苦的工作，我們一天也沒有忘記過自己的任務：斗爭——與黑暗和強暴相搏斗。
——《上海木刻作者協(xié)會成立宣言》
1936年11月
2. The call for democracy
Introduction
China's new woodcut has been struggling from the very beginning. Over the past seven years, under the leadership of the great Lu Xun, thanks to the bloodshed of woodcutters and our painstaking efforts, we have never forgot for a single day our task, which is to struggle with darkness and tyranny.
--'Declaration of the Founding of Shanghai Woodcutters' Association', November 1936
3．戰(zhàn)斗的利器
段首：
如果我們把中國木刻只圈在木刻的范疇就是偏狹的見解；以木刻始，以木刻終決不是這一運動的路向。我們應該肯定的說：木刻否定過去脫離大眾的繪畫和負起建立中國新繪畫——現(xiàn)實主義繪畫——的責任。
我們最可憑借的力量是新興木刻的新現(xiàn)實主義的實踐。新木刻開始萌芽的時候，便以大眾為對象，以啟導大眾，改造社會，輔導政治，爭取全民族解放，擁護民主為中心。
——《十年來中國新興木刻運動的總檢討》
1940年11月
3. A powerful weapon for battle
Introduction
It would be narrow-minded to confine Chinese woodcut to woodcut itself, for the progress of the movement would by no means start with woodcut and end with woodcut. We should assert that woodcut has negated painting of the past, which was detached from the masses, and has undertaken the task of establishing realism as a new approach to Chinese painting.
What we can rely the most upon is the neo-realistic practice of new woodcut. Ever since its budding, new woodcut has been targeted at the masses, focusing on enlightening them, transforming society, assisting politics, seeking national liberation, and embracing democracy.
--'A General Examination of China's New Woodcut Movement in the Past Decade', November 1940
4．大眾的播散
導言：
藝術也如其他的文化一樣，是跟著時代的巨潮而生長著演進著的，所以現(xiàn)代的藝術必然地要走向新的道路，為新的社會服務，成為教養(yǎng)大眾，宣傳大眾與組織大眾的很有力的工具，新藝術必須負著這樣的使命向前邁進。
——《春地畫會成立宣言》
1932年5月
4. Dissemination among the masses
Introduction
Like other forms of culture, art grows and evolves along with the mighty tide of the times. Therefore, modern art inevitably takes a new road, serving a new society as a powerful vehicle for enlightening, stimulating and rallying the masses. The new art must shoulder that mission while it advances.
--'Declaration of the Founding of the Spring Field Art Society, May 1932
展出內容
Exhibits
1新興木刻作品
2書籍\期刊
3魯迅編印的版畫集
4魯迅藏國外版畫家作品
5老照片
1. New woodcut works
2. Books and periodicals
3. Woodcut albums compiled by Lu Xun
4. Foreign woodcuts collected by Lu Xun
5. Old photos
【發(fā)布時間】2014-01-10 【信息來源】管理員 【瀏覽點擊】3141次
