A Study On The Prints And Aesthetics Of Meizhou In Guangdong During The Anti-japanese War (1931-1945)

The long history of the National War of Resistance against Japanese and the deep tradition of worshiping and teaching in Meizhou,Guangdong Province,have been praised as the "hometown of prints".And a large number of outstanding woodcut printmakers,such as Luo Qingzhen,Zhang Hui,Luo Yingqiu,and Kooku,have emerged.Especially in the propaganda of anti-Japanese war,they are actively engaged in creative activities,while practicing the new woodcut movement and realistic creative thought advocated by Mr.Lu Xun.Young woodcut printmaking artists showed strong national cohesion and artistic creativity when the nation was in danger.the local formation of large scale and influence,long time activities of woodcut groups,their theoretical training and creative performance techniques are also gradually maturing in Meizhou.The works played the role of saving the nation,encouraging the morale,attacking the enemy,and became the classic and symbol of the times with local color and strong aesthetic thought.This paper is divided into four chapters:the background of the rise and development of the Meizhou Anti-Japanese War printmaking movement,the practice of the woodcut movement,the natural beauty,the social beauty and the artistic beauty analysis of the Meizhou Anti-Japanese War printmaking.Chapter 1 analyzes the background of the rise and development of the Meizhou Anti-Japanese War printmaking movement.This chapter is divided into three parts:The first part is mainly the spread of realistic art advocated by Lu Xun and the rise and development of the new print movement in China.The second part is the historical and cultural background of Meizhou,which mainly includes three aspects.First,the rich practice of anti-Japanese war and revolutionary spirit in Meizhou during the various periods of history,and the second was the tradition of emphasizing the teaching and worshipping of Chinese characters with the prevalence of education in Meizhou.Third,nostalgia became the natural cohesion between the progressive youth in Meizhou;the third part describes the interaction between Lu Xun and the teachers and students of Meizhou printmaker,including three aspects,Lu Xun's guidance to the subjects and composition and the method of engraving and the guidance of paper of the woodcarvings in Meizhou and the recommendation of woodcarvings and works.Chapter2 Mainly writes the practice of Meizhou Anti-Japanese War printmaking.The chapter is divided into three parts:the first part is the main wooden movement group and practice in Meizhou area during the main War of Resistance against Japan.The second part is the main publication and exhibition established in Meizhou during the War of Resistance against Japan.The third part is the representative printmaker and his works of the War of Resistance against Japan,Including Chen Tiegeng,Huangshan Ding,Zhong Buqing,Chen Zhuokun,Deng Qifan,Luo Qingzhen,Zhang Hui,Luo Yingqiu,Huang Yan;Chapter3,the natural beauty of the Meizhou prints during the War of Resistance against Japan,Including the unity of natural images and custom life.This chapter is divided into three parts.The first part is the scenery in Meizhou of the works.The second part is the Hakka life scene in the works.The third part is the exposure to the real life in the works;Chapter 4 describes he social beauty in the print works of Meizhou during the Anti-Japanese War and it should be divided into three parts:The first part is a scene of resistance of the people's army in the works.The second part is the Japanese army's atrocities in the works,and the third part is the national spirit in the works.Chapter 5 mainly draws the artistic beauty of the Meizhou Anti-Japanese War printmaking,is divided into three parts:the first part is the unity of "emotion" and "reason";The second part is the combination of "form" and "god",and the third part is the expression of"meaning" and "boundary".