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版画之登上现代美术的历史舞台,自20世纪30年代始,而且基本为木刻。它不再是从属于木版年画和插图的制版术,也不再是刻、绘分工操作,而是集刻绘于艺术家一身的制作版画。至于这原本源自中国的木版工艺怎样传到国外变为创作手段,鲁迅又怎样引了进来,举办木刻讲习班、倡导新兴版画,已广为美术界熟知,而且仿佛已是辉煌的过去,但它在20世纪美术新格局中的意义,以及对时下艺术、未来艺术的启示仍然是有文章可作的。
The history stage of modern art is the first of its kind since the 1930s. It is no longer a platemaking operation that is subordinated to woodblock New Year pictures and illustrations, nor is it a carving, a division of labor operation, but a collection of engravings made by an artist. As for how the original wood-based craft originating in China became a means of creation abroad, how Lu Xun came in to hold a woodcut workshop and advocate emerging prints has become well-known in the art world and seems to have been a brilliant past, Its significance in the new pattern of art in the 20th century, as well as the revelation of the art of the present and the art of the future, is still an essay.