Research On The "Nationalization" Development Of Woodcut In Liberated Areas Of China (1936-1949)

Printmaking art in our country has a long history and has experienced more than thousands of years of development and changes.In the 1930 s,the new Chinese woodcutting movement initiated by Lu Xun opened a new situation for the development of Chinese printmaking.As the new woodcut was born in the background of a national crisis and driven by internal motivation,its birth had a natural national character.At that time,Chinese aspiring woodcarving youth began to explore and learn new woodcarving,using the European woodcarving art language to express the suffering life of the people during the war and the tenacious spirit of our army’s brave resistance against Japanese aggression,to gather national strength and inspire the people.In the development process of emerging woodcuts,woodcut workers in liberated areas combined excellent traditional painting techniques and familiar folk art forms with emerging woodcuts to create a large number of woodcuts with national characteristics to make emerging woodcuts better serve the people.In general,the liberated area is a regional concept relative to the nationalized area,especially the area under the jurisdiction of the Communist Party of China during the period of1936 to 1949." This thesis discussed and studied the "nationalization" process of woodcut prints in the liberated areas of China from 1936 to 1949.Image analysis,literature research,comparative analysis,summary,and other research methods were mainly used to explore the development process and historical motivation for the "nationalization" of woodcut prints in the area from 1936 to 1949,as well as the artistic language characteristics of woodcut prints in different historical stages and regions,and to explore the characteristics of The Times,literary and artistic thoughts and aesthetic changes reflected behind the phenomenon of "nationalization".This thesis consists of five parts.The introduction explained the reason for topic selection,research value,and research status,as well as the innovation points,research methods,image references,and so on.The first chapter mainly combed the development process of Chinese woodcut prints from ancient times to 1949,briefly described the characteristics of woodcut prints in each stage,and focused on the background,reasons,and characteristics of the formation of woodcut prints in liberated areas.The second chapter focused on the "nationalization" of woodcut prints in liberated areas from1936 to 1941.Taking the woodcut prints in the anti-Japanese base areas of Jiangsu and Zhejiang new fourth army of the national revolutionary army,Shanxi anti-Japanese base areas,and Yan’ an anti-Japanese base areas as the research object,this thesis analyzed the characteristics of the expression content and techniques of woodcut prints in liberated areas during this period,the embodiment of the national spirit and the reasons.Chapter Three focused on the development of woodblock engraving "nationalization" in the liberated areas from 1942 to1949,and studied the exploration and innovation of woodcut prints in the "nationalization" process of art language in Yan ’an anti-Japanese base areas,Shanxi anti-Japanese base areas,Northeast liberated area,and the liberated areas of Jiangsu and Zhejiang under the influence of Speech at the Yan’an Forum on Literature and Art.Chapter four briefly discussed printmaking in our country’s recent development in the process of "nationalization",and provided some reference to the historical development of engraving in our country s historical development after the founding of the nation and during more than 10 years of reform and opening-up.