20世紀(jì)初的德國(guó)表現(xiàn)主義版畫(huà)與中國(guó)“新興木刻”之比較

1、 I 論文題目：20 世紀(jì)初的德國(guó)表現(xiàn)主義版畫(huà)與中國(guó)“新興木刻”之比較 專(zhuān) 業(yè)：美術(shù)學(xué) 碩 士 生: 駱彤彤 指導(dǎo)教師：楊鋒教授 摘要 德國(guó)表現(xiàn)主義是 20 世紀(jì)初期世界藝術(shù)史上一個(gè)重要的藝術(shù)流派，特別是德國(guó)表現(xiàn)主義版畫(huà)， 不僅對(duì)世界版畫(huà)藝術(shù)的復(fù)興和發(fā)展起到了推動(dòng)作用， 也對(duì)世界現(xiàn)代藝術(shù)產(chǎn)生了重大影響。中國(guó)“新興木刻”運(yùn)動(dòng)始于 20 世紀(jì) 30 年代。19

2、31年魯迅在上海舉辦“木刻講習(xí)班”標(biāo)志著中國(guó)“創(chuàng)作版畫(huà)”的開(kāi)始，翻開(kāi)了中國(guó)現(xiàn)代美術(shù)史新的一頁(yè)。 本文以 20 世紀(jì)初期德國(guó)表現(xiàn)主義版畫(huà)和中國(guó) “新興木刻”為比較研究對(duì)象，通過(guò)對(duì)兩者現(xiàn)存代表作品的表現(xiàn)內(nèi)容﹑形式風(fēng)格進(jìn)行分析比較，并結(jié)合相關(guān)歷史資料，展開(kāi)論述，試圖梳理兩者之間的關(guān)系。 本文正文部分對(duì) 20 世紀(jì)初期的德國(guó)表現(xiàn)主義版畫(huà)與中國(guó)“新興木刻”的作品進(jìn)行圖像比較分析。 （一）20 世紀(jì)初期德國(guó)表現(xiàn)主義和中國(guó)“新興木刻”的基本概念和產(chǎn)生

3、的社會(huì)歷史背景。表現(xiàn)主義產(chǎn)生于 20 世紀(jì)初期，離不開(kāi)李普斯、沃林哲等人的理論支持。它要求擺脫外在的客觀表象，直接表現(xiàn)內(nèi)在的情感、直覺(jué)。這個(gè)時(shí)期的德國(guó)，無(wú)產(chǎn)階級(jí)和資本家的利益矛盾日趨尖銳，帝國(guó)主義之間為了爭(zhēng)奪殖民地而導(dǎo)致了第一次世界大戰(zhàn)的爆發(fā)。 社會(huì)運(yùn)動(dòng)和戰(zhàn)爭(zhēng)使人們的生活籠罩在不安、恐懼和彷徨的氣氛中。1930 年前后的中國(guó)，處于國(guó)內(nèi)革命戰(zhàn)爭(zhēng)時(shí)期，社會(huì)矛盾尖銳、階級(jí)斗爭(zhēng)激烈，長(zhǎng)期的戰(zhàn)爭(zhēng)使人民的生活水深火熱。中國(guó)“新興木刻” 是因其倡導(dǎo)版

4、畫(huà)創(chuàng)作關(guān)注社會(huì)現(xiàn)實(shí)和底層人民的生活， 與古代復(fù)制木刻有著質(zhì)的差別，故取其名。 （二）作品題材的分析。本文各選了五位藝術(shù)家，對(duì)其作品的題材進(jìn)行分析。 德國(guó)表現(xiàn)主義版畫(huà)作品的題材以表現(xiàn)人物的情緒、 生活狀態(tài)，和社會(huì)動(dòng)蕩給民眾帶來(lái)的苦難等為主。 “新興木刻”作品的題材，主要是表現(xiàn)國(guó)內(nèi)革命斗爭(zhēng)及戰(zhàn)爭(zhēng)背景下百姓悲慘的現(xiàn)實(shí)生活。 （三）對(duì)作品藝術(shù)風(fēng)格的異同進(jìn)行比較。 對(duì)兩者作品的構(gòu)圖， 版畫(huà)語(yǔ)言以及所呈現(xiàn)出的藝術(shù)特色進(jìn)行分析比較。 本文結(jié)論部分：通

5、過(guò)對(duì) 20 世紀(jì)初期德國(guó)表現(xiàn)主義版畫(huà)與中國(guó)“新興木刻”兩方面的藝術(shù)家及其作品比較分析， 總結(jié)兩者的關(guān)聯(lián)和異同。 從各自的社會(huì)歷史背III Thesis: German Expressionist prints in the early 20th century, with China emerging woodcut “ Major: Fine Arts Master of Health: Luo Tongtong Instruc

6、tor: Professor Yang Feng Summary German Expressionism is the beginning of the 20th century world history of art is an important school of art, especially German Expressionist prints, played a role in promoting not only

7、 for the rehabilitation and development of printmaking in the world, but also had a significant impact on the world of modern art. Emerging woodcut movement began in the 1930s. 1931 Lu Xun woodcut workshop held in Shangh

8、ai, marking the beginning of the “creative prints“, and open a new one of modern Chinese art history. To the early 20th century German Expressionist prints and emerging woodcut “A Comparison Study, were analyzed and comp

9、ared the performance of the content, form and style of the two existing representative works, combined with the relevant historical data, discussed, trying to comboth relationship. The text of this paper part of the wor

10、ks of the early 20th century German Expressionist Prints and emerging woodcut “image analysis. (A) of the early 20th century German Expressionism and China “emerging woodcut“ basic concepts and the social and historical

11、background. The expressionism in the early 20th century, theoretical support can not be separated the Lipu Si, and Wolin Zhe et al. It requires to get rid of the external objective appearance, a direct manifestation of i

12、nner emotions, intuition. This period in Germany, the interests of the proletariat and the capitalists become increasingly acute contradictions between imperialism in order to compete for colonies led to the outbreak of

13、World War. Social movements and the war to make people's lives shrouded in an atmosphere of anxiety, fear and uncertainty. After 1930, in the Revolutionary War, sharp social contradictions, intense class struggle, a

14、long war to make the lives of people in dire straits. China's emerging woodcut printmaking because of its advocacy concerned about the social reality and the bottom of people's lives, has a qualitatively differen