延安木刻是20世纪三四十年代中国美术史上重要的成果之一,其在延安实践的成功、启蒙精神的显现,与木刻家对鲁迅木刻理念的接受和传播密不可分。自20世纪20年代末始,鲁迅介绍欧洲现代版画进入中国,就旨在呼吁艺术家能为“被侮辱和被损害的”人呐喊,满足中国社会与革命对木刻艺术的期待。在木刻的形式和内容上,他又主张采用中国“旧形式”及符合大众审美的内容,促进了木刻艺术的大众化转型。鲁迅提倡新兴木刻的思想理念被受他影响的上海左翼木刻家带去延安,如江丰、古元、力群、 Yan’an woodcut is one of the important achievements of Chinese art in the 1930s and 1940s. The success of its practice in Yan’an and its manifestation of enlightenment are inextricably linked with woodcutters’ acceptance and dissemination of Lu Xun’s woodcuts. Since the late 1920s, when Lu Xun introduced the European modern prints into China, he urged the artists to cry out for “humiliation and damage ” to meet the expectation of Chinese society and revolution on woodcut art. In the form and content of woodcut, he also advocated the adoption of the Chinese “old form” and aesthetic aesthetic content, which promoted the popular transformation of woodcut art. Lu Xun’s idea of ​​promoting emerging woodcuts was brought to Yenan by the Shanghai left-wing woodcutters influenced by him, such as Jiang Feng, Gu Yuan, Li Qun,