The Aesthetic Value Of Wood-engraving In The Rear Area Has Exerted During The Anti-Japanese War Period

The historical and cultural studies in the period of Anti-Japanese War is the most important historical event in the 20th century, it is the kickpoint of China that turn to revivement, therefore the historical culture research of it become the necessary foundation that make our society develop. Among them, wood-engraving of the rear area during the War is embodied with so much social symbols, cultural characteristics and internal points. Its realistic aesthetic value is far-reaching, established realistic aesthetic norms.During the eight-year war, we made great efforts from every aspect to achieving the ultimate triumph at any moment. Thus, print became an indispensable weapon during that period. In view of it, we wonder why the print, an ancient type of painting, led the art during that period. Is the block just art? Why dose the print in Kuomintang -controlled area form a special state? And what is the presentation? What is the print of the rear area endowed with? What dose the endowed offer to the contemporary art? Those questions are the factors of forming the aesthetic value and will be exploded one by one.Up to now, the print research data of the Anti-Japanese War period has not been completed or systematized in our country, most of which are historic materials data. Besides, because of national conditions, researches on the prints of the liberated area are comparatively more than that of the rear area. Therefore, it leaves an in-depth discussion and analysis of space for the topic.At first, this paper introduces several forms of aesthetic value, generated by the Chinese complex social patterns before the outbreak of the Anti-Japanese War. combs out the historic materials of the Western and Chinese prints, and overviews printmaking. print exhibition, print activities and print development, etc. in the rear area, i.e., Kuomintang-controlled area. Those are the premise and background that form the aesthetic value of wood-engraving during the period of Anti-Japanese War. Secondly, it emphasize the three characteristic of realistic spirit that reflect one kind of cultural artistic conception in the image, spirit of revolution and national character, weake appreciation and prominent sublime. And it makes analyses and evidence on several printmakers' works. And it analyzes the reasons for forming the aesthetic value of wood-engraving in the rear area during the War from three aspects, i.e., zeitgeist, Kuomintang-Communist cooperation again Japan in nation scale, and artists'thought remolding. And it makes analyses and evidence on several printmakers'works. In addition, Li Hua, Wang Qi, and Zhang Wang's works and artistic pursuit are introduced respectively in a separate chapter. Among them, it especially introduces the works of Gu Yuan, a printmaker of the liberated area, and then makes a comparative research on the works of Kuomintang-controlled area. Finally, this paper elaborates on the far-reaching influence which the aesthetic value of wood-engraving in the rear area has exerted during the Anti-Japanese War period and on the realistic enlightenment to the contemporary art.