中國現代木刻的藝術生產（1930至1940年代）

The Modern Woodcut Movement is an important period of revolutionary art in the modern art history of China during the first half of 20th century, and also a farreaching avant-garde movement. This research, intending to transgress the traditional research frame of art history, investigates the logic of production behind the art movement from the perspective of Cultural Studies. It takes the ‘mode of art production’ as its theoretical framework, considering that during the process of the modern woodcut movement in China of the 1930s and 1940s there were three modes of art production regarding the demands of time and society. These are the creation by the art societies and young art apprentices with personal guidance of Lu Xun, the large-scale woodcut movement under the supervision of the national woodcut association in the context of the anti-Japanese war, and the woodcut production in Yan’an under the supervision of the ‘Talks at Yan’an Forum on Literature and Art’. These three modes of art production vary in production purposes, contents, organizational forms, management styles, communication media, audiences, etc. This dissertation focuses on the period of the anti-Japanese war and illuminates how modern woodcut, as a popular artistic form, interacted actively with the society and participated in revolutionary struggles, expressing an attitude of ‘left-wing’ avantgarde. It produced its objects of printmaking images, and completed self-production, which established modern printmaking as an artistic form. The dissertation analyses different facets of the modern woodcut movement in four chapters on organizations, exhibitions, publications, education and woodcut tools, respectively. These elements are also compulsory parts of art production.In the contexts of the anti-Japanese war, the mode of art production for woodcut changed dramatically. It developed in the ashes of war from a little seedling to a strong art form, fully expressing its characteristics of avant-garde and gaining popularity. The government lost its censorship and suppression on woodcut and adopted it as a propaganda tool in its military and governmental spheres. This gave woodcut a ‘legal’ identity to some extent, and made woodcut closely aligned with social affairs. This means that the investigation of woodcut production during the anti-Japanese war should commence from a multifaceted sociocultural layer. Although as an art movement, all elements were still present, like associations, exhibitions, publications, and pedagogy, there were still new trends. For one thing, it reinforced its organizational leadership; for another, it underlined the themes of resistance and salvation. Through mass exhibitions and hundreds of woodcut journals and newspaper supplements, the public could access this kind of art; and it also had more systematical woodcut textbook and theory, with the support of woodcut training classes and woodcut tools. It is hard to imagine that all these results were achieved in the context of chaos and turmoil, and this compels the researcher to explore how the ‘left-wing’ youth expressed their voices and recalled collective actions through woodcut. This is a valuable undertaking. During this period, the activities of the Modern Woodcut Movement under the new mode of art production was a part of world left-wing artistic trends, and also enriched the visual pattern and artistic languages of modern woodcut, which originated from Europe. In the process of China’s modernization in the first half of 20th Century, woodcut printmaking is regarded as a visual medium and propaganda tool for social transformation, and also a newly established modern art form. The development process of modern woodcut reflects the special routine of ‘Chinese Modernity’.新興木刻運動是20世紀上半葉中國現代美術史上一段重要的革命美術史，亦是一場影響深遠的先鋒藝術運動。本研究有意打破美術史的研究框架，從文化研究的視角考察這一藝術運動背後的生產邏輯。本研究以「藝術生產方式」為理論框架，認為在20世紀30至40年代中國新興木刻運動的發展過程中，隨著時代和社會需求存在著三種不同的藝術生產方式：魯迅親自指導的藝術社團和木刻青年創作、抗戰語境下全國性木刻組織領導的規模化木刻運動、「延安文藝座談會」思想指導下的延安木刻生產。這三種藝術生產方式在生產目的、生產內容、組織形式、管理方式、傳播方式、受眾等方面都存在著差異。論文重點關注抗戰時期，新興木刻作為大眾化的藝術形式，如何積極地介入社會，參與到革命鬥爭中，體現「左翼」先鋒姿態，在生產對象——版畫圖像的同時也完成了自身的生產——現代版畫藝術形式的確立。論文通過四個章節分別考察新興木刻運動的不同側面：組織，展覽，出版，人才培養和木刻工具等。這些要素也是藝術生產不可或缺的環節和部分。在抗戰語境下，木刻的藝術生產方式發生了很大變化，剛成長起來的木刻在戰爭的歷練中發展壯大，充分顯示其「先鋒性」和「大眾性」的藝術特質。官方對於木刻活動的審查打壓程度放鬆，以及將木刻收編納入軍政部門的抗戰宣傳中，使得木刻在一定程度上獲得了「合法」身份，並與社會時事有著即時緊密的互動。這意味著，需要從更為複雜的社會文化層面去考察抗戰時期的木刻生產。雖然作為一場藝術運動的各元素：社團、展覽、出版、教學等都仍繼續存在，但抗戰時期的木刻運動一方面加強了組織領導，一方面突出了抗戰救亡主題，通過有規模的木刻展覽會和上百種木刻期刊及報紙副刊讓社會大眾了解這門藝術；並且這一時期有了更為系統的木刻教材和理論，以及木刻訓練班和木刻工具的支持。很難想像這些成就是在戰爭動亂的背景下取得的，這更讓人有興趣去探索「左翼」青年通過木刻發出的聲音和召喚，而這部分研究仍有待發掘。這一時期的中國新興木刻運動在新的藝術生產方式下進行活動，是世界左翼文藝思潮的一部分，同時豐富了發源於歐洲的現代木刻的視覺圖式和藝術語言。在20世紀初中國現代化的進程中，木刻版畫既是作為社會變革的視覺媒介和宣傳工具，同時也完成了一門現代藝術的確立，其自身的發展歷程體現出「中國現代性」的複雜性和獨特路徑。楊儒.Ph.D. Chinese University of Hong Kong 2021.Includes bibliographical references (leaves ).Abstract also in English.Title from PDF title page (viewed on …)