The Study Of The Popularization Of Art In 《The Anti-japanese War Painting Journal》

The popularization of fine arts,as an important trend of thought and movement throughout the process of fine arts in the 20 th century,has always been one of the basic propositions of modern art thought.Put in the context of the history of modern Chinese art,the concept of popularization of art and creative thought,as early as the beginning of the twentieth century,there are germination and practice,but to the anti-Japanese war in the early sino-Japanese war caused by the confusion,confusion,national danger of the context,popular art as a kind of enlightenment,indoctrination and other functions of the "weapon",only to become the mainstream of art thought by the vast number of artists to accept,implement and promote.However,compared with the artists of Yan’an Liberation Zone’s thorough promotion of popular art and the pursuit of consistency of style,the practice of popularization of fine arts in the National Unification Zone after the Anti-Japanese War seems to be slightly weak.Although not like Yan’an District systematic,organized art groups practice and spread popular art,but after the Anti-Japanese War artists are mostly also to respect and recognize the practice of the popularization of art to show support for the resistance.Among them,"Anti-Japanese War Painting Journal" as the largest circulation,the most extensive impact of the pictorial periodicals,whether it is on the anti-Japanese propaganda,or the practice of the popularization of fine arts and wartime art creation guidance,have an indelible impact.Therefore,this paper hopes to clarify the internal logic of the development of art popularization in wartime by focusing on the publication of Anti-Japanese War Painting,and then it can map out the implementation and development of the art popularization trend in the rear of the Anti-Japanese War.This paper discusses the four parts of the purpose,theme selection,functional orientation and team composition of the magazine.The first part revolves around the funder Feng Yuxiang and editor-in-chief Zhao Wangyun,exploring what kind of opportunity the Anti-Japanese War Painting Magazine is to form and firmly move towards the popular propaganda road.The second part introduces the choice of graphic subject matter in the publication through the content of the pictorial magazine,and focuses on three typical images in the magazine,namely,soldiers,peasants and Miaomin.The third part discusses the hidden functional points under the graphic content.The fourth part details the three lineups of the editorial team of the magazine:the literary contributors of the editors of the magazine,the special comic contributors of the members of the Marvel team,and analyzes the characteristics of the popular style of their respective works in the Anti-Japanese War Art Journal,as well as their respective understandings and creative practices of the popularization of fine arts.By comparing with each other,multi-facetedly demonstrates the concrete presentation of the popular creation of art in anti-Japanese war magazine,and then confirms the uniqueness of its popularization path,as well as the representative position of the popularization practice of fine arts in the rear of the anti-Japanese war,thus extending the logical generation mode of the popular creation of art in the pre-anti-Japanese war.Through the above analysis,the practice of "popularization of art" in the Anti-Japanese War Painting Journal is uniquely attractive.It is not only different from the ideological popularist art that the official advocates and promotes,but also different from the mass art production which the elites are dominated by the urban inertia.It is an artistic activity carried out by a group of aspiring people because of the common ideal and spontaneously starting from the masses,relying on the aesthetic,emotional and realistic needs of the masses.