本文選題：山西抗日根據(jù)地 + 木刻版畫(huà)��； 參考：《山東大學(xué)》2017年碩士論文

【摘要】：抗日戰(zhàn)爭(zhēng)時(shí)期,民族的獨(dú)立與解放是中國(guó)人民面臨的最緊要的政治課題,是關(guān)于中華民族生死存亡的歷史現(xiàn)實(shí)。中華民族全民奮勇抗戰(zhàn),中國(guó)文藝工作者也從"為藝術(shù)而藝術(shù)"的象牙塔走出來(lái),用文藝的武器毅然的投身到民族獨(dú)立和解放的戰(zhàn)爭(zhēng)中去。其中,山西抗日根據(jù)地的木刻版畫(huà)作為宣傳抗戰(zhàn)、凝聚民族斗志的重要武器被高度重視。山西作為抗日戰(zhàn)爭(zhēng)時(shí)期的戰(zhàn)略重地,以其獨(dú)特的地理位置和濃郁的黃土文化,占盡了天時(shí)、地利、人和之優(yōu)勢(shì),使其成為全國(guó)抗日美術(shù)的中心。本文以對(duì)抗戰(zhàn)時(shí)期山西根據(jù)地木刻版畫(huà)代表性作品的思想、藝術(shù)分析為基礎(chǔ),著力圍繞山西抗日根據(jù)地木刻藝術(shù)在抗戰(zhàn)過(guò)程中所形成的大眾化和民族化的創(chuàng)作特征進(jìn)行論述。論文通過(guò)四個(gè)章節(jié)對(duì)山西抗日根據(jù)地木刻版畫(huà)創(chuàng)作進(jìn)行深入研究和分析。首先,從山西抗日根據(jù)地木刻版畫(huà)創(chuàng)作的"火種"——新興木刻版畫(huà)開(kāi)始,大致梳理概括了新興木刻的誕生、影響和山西抗日根據(jù)地木刻版畫(huà)的活動(dòng)。通過(guò)對(duì)晉冀豫、晉察冀和晉綏根據(jù)地的木刻版畫(huà)活動(dòng),系統(tǒng)的了解山西木刻工作者創(chuàng)作實(shí)踐的過(guò)程。其次,對(duì)山西抗日根據(jù)地木刻版畫(huà)創(chuàng)作特征的成因進(jìn)行探討分析,進(jìn)而全面認(rèn)識(shí)山西抗日根據(jù)地木刻版畫(huà)與產(chǎn)生它的歷史、政治、地域環(huán)境、美術(shù)傳統(tǒng)的關(guān)系。然后,通過(guò)表達(dá)內(nèi)容和表現(xiàn)形式兩個(gè)方面對(duì)山西抗日根據(jù)地木刻版畫(huà)的創(chuàng)作特征進(jìn)行探究,選取山西抗日根據(jù)地木刻版畫(huà)中最具典型性的作品進(jìn)行分析。由此,進(jìn)一步論述山西抗日根據(jù)地木刻工作者從早期單純的復(fù)制模仿,形成歐化木刻,經(jīng)過(guò)點(diǎn)點(diǎn)滴滴的積累創(chuàng)作和探索,深入生活、深入群眾,汲取黃土文化中的民間美術(shù)形式,直到發(fā)展成具有民族化、大眾化的木刻藝術(shù)。并且在此基礎(chǔ)上對(duì)山西抗日根據(jù)地木刻版畫(huà)藝術(shù)性和革命性完美結(jié)合的的特征做進(jìn)一步的闡述。最后,在前文研究的基礎(chǔ)上,對(duì)山西抗日根據(jù)地木刻版畫(huà)的歷史影響進(jìn)行總結(jié),主要從木刻版畫(huà)宣傳抗戰(zhàn)、凝聚民族斗志的重要作用和推動(dòng)新年畫(huà)的發(fā)展進(jìn)行論述,體現(xiàn)了山西抗日根據(jù)地木刻版畫(huà)的社會(huì)價(jià)值和藝術(shù)價(jià)值。山西抗日根據(jù)地木刻版畫(huà)在中國(guó)現(xiàn)代美術(shù)史上占有重要的地位,這就要求我們對(duì)山西抗日根據(jù)地版畫(huà)創(chuàng)作特征的研究,必須結(jié)合抗日戰(zhàn)爭(zhēng)的歷史背景去認(rèn)識(shí),只有在這種特殊的背景下,山西抗日根據(jù)地木刻藝術(shù)的歷史價(jià)值和藝術(shù)價(jià)值才能體現(xiàn)出來(lái)。這對(duì)于當(dāng)代中國(guó)美術(shù)事業(yè)的蓬勃發(fā)展,具有深刻的啟示作用和指導(dǎo)意義。
[Abstract]:During the War of Resistance against Japan, the independence and liberation of the nation was the most important political issue faced by the Chinese people and the historical reality of the survival of the Chinese nation. The Chinese people bravely fought the war, and Chinese literary and art workers stepped out of the ivory tower of "Art for Art" and resolutely threw themselves into the war of national independence and liberation with the weapons of literature and art. Among them, the woodcut prints of Shanxi anti-Japanese base area as propaganda and anti-Japanese war, the important weapon of national fighting spirit is highly valued. Shanxi, as a strategic place in the period of the Anti-Japanese War, with its unique geographical position and rich loess culture, occupied the advantages of weather, geographical location and human harmony, which made Shanxi become the center of anti-Japanese art in the whole country. Based on the thought and art analysis of the representative works of woodcut in Shanxi base area during the Anti-Japanese War, this paper focuses on the popular and nationalized creative characteristics of woodcut art in Shanxi Anti-Japanese Base area in the course of the War of Resistance against Japan. The paper through four chapters of Shanxi anti-Japanese base area woodcut print creation in-depth research and analysis. First of all, from Shanxi anti-Japanese base area woodcut engraving creation "fire"-emerging woodcut engraving, roughly summarized the birth of emerging woodcut, influence and Shanxi anti-Japanese base area woodcut printing activities. Through the woodcut engraving activities of Shanxi and Hebei, Shanxi and Chaji and Shanxi and Suiyuan base areas, we systematically understand the process of Shanxi woodcut workers' creative practice. Secondly, this paper probes into the causes of the creation characteristics of woodcut prints in Shanxi Anti-Japanese Base area, and then fully understands the relationship between woodcut prints and the history, politics, regional environment and fine arts tradition of Shanxi Anti-Japanese Base area. Then, through the expression content and the expression form two aspects carries on the research to the Shanxi anti-Japanese base area woodcut engraving creation characteristic, selects the Shanxi anti-Japanese base area woodcut engraving the most typical work to carry on the analysis. As a result, it is further discussed that wood engraving workers in Shanxi's anti-Japanese base areas copied and imitated in the early days, formed Europeanized wood carvings, created and explored little by little, went deep into life and the masses, Drawing on the folk art form of loess culture until it developed into a nationalized and popular woodcut art. And on this basis of Shanxi anti-Japanese base area woodcut engraving art and revolutionary perfect combination of the characteristics of further elaboration. Finally, on the basis of the previous study, this paper summarizes the historical influence of woodcut printmaking in Shanxi anti-Japanese base area, mainly discusses the important role of woodcut print in propagating the War of Resistance against Japan, condensing the national fighting spirit and promoting the development of New year's Pictures. It embodies the social value and artistic value of woodcut prints in Shanxi anti-Japanese base area. Woodcut printmaking in Shanxi's anti-Japanese base area occupies an important position in the history of modern Chinese art, which requires us to study the creative characteristics of the woodcut in Shanxi's anti-Japanese base area, which must be understood in the light of the historical background of the Anti-Japanese War. Only in this special background, the historical value and artistic value of woodcut art in Shanxi anti-Japanese base area can be reflected. This for the flourishing development of contemporary Chinese art, has a profound enlightening role and guiding significance.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J217

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