The New Cultural Movement and the printmaking art of Modern China
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新文化運動下魯迅借弘揚木刻版畫推美學改革，並不是旨在鞏固國民黨的共和民主及資本主義管治，反而激化陳獨秀及李大釗之左翼社會主義五四思想於工農階層遍地開花地萌生，令蔣介石政權欲推西方媒介藝術市場化及精英主義策展難上加難。 魯迅先是認為抗日烈士及紅軍在戰火頻生及長征之亂世環境下，很難再以脆弱的宣紙絹本及畫學丹青弘揚社會主義思想，反而用木刻版畫方法，配以洪席耶「戲玩的幻像」之故事性人物構圖，以油墨大量複印在西方畫紙上，可在不同的農村及軍事據點以麻線大批懸掛畫作，向文盲階層進行文宣講述救國的最新情報。 重版畫發展的魯迅對黃宮望《寫山水訣》之「三遠」境界表示不滿，認為作畫心境上過於「天人合一」及隠逸無法有效地展現出英雄人物革命的苦難實況，西方WALTER BENJAMIN一類故事性繪畫思維用於版畫上雖遺反董其昌《畫禪室隨筆》之筆墨典章制度，但起碼能達致入世的西方傳播學效果，快速地達致移風易俗之餘，亦能快速地把顧愷之「形神論」昇華至實用主義的全球化層次，不過畫國畫的石魯卻包容得到魯迅版畫發展上的「全盤西化」。
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The New Cultural Movement and the printmaking art of Modern China
- 7. Woodblock printing dated back to the 18th century and thrived during the Ming and Qing periods, when artist used them as illustrations in novels and new year prints. The popular use of this technique and its humble origins prompted intellectuals such as Lu Xun (1881 – 1936) to use the medium as a mean to educate the public and raise awareness of contemporary plight. In his endeavours to do so, Lu Xun introduced modern works by Kaethe Kollwitz (1867-1945) and others to Chinese artists. Woodcuts proved to be an effective and affective medium, as sharp incisions in black and white colours are conducive to rendering visual drama that can aptly express suffering and social ills. Woodcuts was deemed an indispensable tool to advance socialism and combat foreign aggression. The Lu Xun Academy of Arts, established in 1938 by Mao Zedong and others in celebration of Lu Xun’s legacy, trained woodcut artists in Yan’an and organized multiple exhibitions.
- 8. As the prints were intended for the masses, many of whom were illiterate, woodcut artists learned to formulate subjects and pictorial conventions that resonated with the people and that gave a voice to the suppressed. The artists sought the advice of their audience and revised their prints accordingly. For instance, shading – a Western art technique used to render three dimensional figures – was reduced, following peasants’ complaint of darkened faces; colored prints were also introduced to enhance visual appeal for the people, who were used to traditional Chinese images with vivid colours. 彥涵《搶糧鬥爭》
- 9. The war and Mao’s teaching had facilitated the “learning” process of the artists, who were immersed in the peasants’ way of life. The artists made their own carving knives from broken umbrellas or iron wires, which were smelt and repurposed. Due to the lack of sandpaper, they polished the woodblocks against stone steles. Painting and woodcuts were done on the paper locally made of Malan weed, and were then pinned up on streets with thorns, distributed among those in enemy-occupied regions, or kept by one’s side. These characteristics contributed to the development of the “Yan’an school” of woodcuts. 彥涵《豆選》
- 18. 文樓 著：《藝苑隨想錄》。四川：四川出版集團、四川美術出 版社，2006年5月第1版 劉鳳霞：〈延安文藝與石魯及長安畫風〉，載莫家良 主編： 《學道揚塵．中國藝術史論文集》 ，香港：香港中文大學藝術 系，2003年12月初版，頁187-198 Edited by The Hong Kong Jockey Club University of Chicago Academic Complex, The University of Chicago Francis and Rose Yuen Campus in Hong Kong & CUHK Art Museum,"Art of War - Chinese Woodcuts from Yan'an ca. 1944". Hong Kong: The Art Museum Publication Revolving Fund, 1st Edition in 2018 蕭滋 著：《出版．藝術．人生》。香港：三聯書店 （香港） 有限公司，2017年9月30日第1版 Immanuel C.Y Hsu, “The Rise of Modern China”. The United States: Oxford University Press, 6th Edition in December 1999