About the History of Class 04 Meng Xiangyuan

Abstract: Printmaker Zhao Yannian once said: Mr. Lu Xun is the mother of China's new paintings. One sentence covers all the outstanding contributions of Mr. Lu Xun to China's emerging prints. Starting from the development of China printmaking, this paper focuses on the new printmaking business promoted by Mr. Wang. As the soul of the nation, Mr. Lu Xun, from choosing to introduce European prints, to hosting woodcut workshops, to vigorously promoting the establishment of woodcut groups in various places, is full of responsibility for reviving the Chinese nation from beginning to end, and is also full of sincere love and care for the country, the nation and the next generation. A few words can't express Mr. Wang's bloody contribution, but reviewing history is to better grasp the future. Let the past prosperity and shame pass, but the most unforgettable thing is: Mr. Wang's infinite sense of responsibility and passion for the country and the nation. Here, I once again pay tribute to my dear husband and hold high the banner of national rejuvenation in our hands.

Keywords: emerging woodcut movement prints exhibition woodcut prints

( 1)

Printmaking is an important category of China fine arts. Ancient prints mainly refer to woodcut prints, but a few copperplate prints and overprinting are not allowed. Its uniqueness makes it have independent artistic value and position in the history of China culture and art, so Mr. Lu Xun said: "Carving images on wood, printing on paper, traveling far and wide, the cover began in China." [①]

The origin of China prints can be divided into Han Dynasty, Eastern Jin Dynasty, Six Dynasties and even Sui Dynasty. It is generally believed that its birth can be traced back to the Han Dynasty. Judging from its development, its embryonic form should be Han portrait brick. Although it is a decorative work of art in architecture, it is very similar to some attributes of printmaking, because it takes Shi Zhuan as its location and uses a knife as a ghostwriter. Later generations wiped it with paper. Isn't this a wonderful print? The earliest existing print in China has a date, that is, the painting of "Lonely Tree Garden" on the front page of "King Kong Prajna Sutra" discovered in Dunhuang Mogao Grottoes 1900 in the ninth year of Xian Tong (AD 868). It can be inferred from this exquisite print that ancient prints have made great achievements in the Tang Dynasty, so the development of prints must be earlier than that of the Tang Dynasty. Prints from the Tang and Five Dynasties were also found in northwest China and wuyue. Most of the works are concise and handsome, and the content and theme are mainly religious classics.

Buddhist prints in Song and Yuan Dynasties developed further on the basis of Tang and Five Dynasties. The engraving method is perfect and the body rhyme is rich. At the same time, landscape paintings began to appear on the scrolls. Printed materials on other topics also began to appear and expanded to various fields, such as medical codes and yearbooks. Bianjing, Lin 'an, Shaoxing, Huzhou, Suzhou, Jian 'an in Fujian, Meishan in Sichuan and Chengdu in Southern Song were all famous seal cutting centers at that time. At the same time, the overprint color edition of Siddhartha Gautama in Nanwu in Liao Dynasty is the earliest color overprint found in China, which plays an extremely important role in the history of world culture. At the same time, due to practical needs, bronze seals also appeared in the Song Dynasty, but they were mainly used to print paper money. The "Pinghua" printmaking in Yuan Dynasty is the predecessor of China's serial printmaking.

The Ming and Qing Dynasties were the heyday of China printmaking. Due to the promotion of economy and the joint efforts of many scholars, booksellers and seal engravers, various schools of printmaking have emerged, and a large number of excellent works have been created, showing a prosperous situation. Not only did religious printmaking reach its peak in the Ming Dynasty, but also the appreciation of printmaking increased greatly in the Ming Dynasty. Paintings, novels, operas, biographies, poems, etc. , especially the printed illustrations of literary masterpieces, are widely popular and have far-reaching influence. This period is also a prosperous period of various artistic schools of printmaking. Jian 'an School, centered on Jianyang, Fujian, is mostly the work of folk craftsmen, with simple carving. Jinling School, with Nanjing as the center, focuses on operas and novels. Or rough and bold, or elegant and beautiful, with different styles. Huizhou School, with Huizhou as the center, has a far-reaching influence and plays an important role in the cultural history of China. In the second year of Shunzhi in Qing Dynasty (1645), Chen Hongshou's block-printed Nine Songs of Chu and the small block-printed Lisao Map were all prints with the poems of the famous patriotic poet Qu Yuan as the theme. It is a masterpiece of ancient illustrated prints, which occupies a high position in the history of China prints, and also reflects the prosperity of China prints in Ming and Qing Dynasties.

In the Qing Dynasty, because the rulers advocated textual research and exegesis, they formed a style of study that emphasized demonstration and ignored exaggeration. Under the influence of this style of study, by the end of the Qing Dynasty, printmaking art gradually declined. However, the most serious blow to printmaking is the introduction of western lithography. Since then, the traditional block printing and its derived prints have been declining. China woodcut spread to Europe from the beginning of14th century, but it became the weapon of their civilization and the founder of printing. By the middle of19th century, printmaking had sprung up and flourished in Europe. However, the masters of modern China did not seem to know that there was this new art form in the world at that time. In this case, the revival of printmaking has become a very urgent task. Mr. Lu Xun was the first person who undertook the heavy responsibility of importing a large number of European prints and laid and guided the new woodcut in China.

As the main leader of China Cultural Revolution, Mr. Lu Xun was a great writer, thinker and revolutionary. He not only used literature as a weapon to charge against the old society, old culture and imperialism, but also made unremitting efforts for the China Revolution by using the propaganda function of art, which not only made great contributions to the development of new literature in China, but also made indelible contributions to the development of new art in China, especially advocating woodcut creation and leading the new woodcut movement in his later years, which is one of the most brilliant chapters in China's emerging art career.

(2)

Among many art forms, why did Mr. Lu Xun choose printmaking and why did he advocate printmaking? In modern printmaking in China, Lu Xun's portrait appears frequently, and almost every generation and printmaker has created and copied Mr. Lu Xun's portrait. What is the reason?

First of all, let's take a look at the background of Lu Xun's advocacy of woodcut movement.

1929, the Kuomintang betrayed the revolution and launched the "April 12th" coup. Since then, white terror has enveloped the earth, and Kuomintang reactionaries have tried to strangle the revolutionary forces and people by means of military and cultural encirclement and suppression. In contrast, it is the anti-military encirclement and suppression struggle in the Soviet area under the leadership of China's * * * production party and the anti-cultural encirclement and suppression struggle of the left-wing literary and art movement with Lu Xun as the standard-bearer and Shanghai as the center. It never rains but it pours. 193 1 year, Japan flagrantly launched the September 18th Incident in an attempt to turn China into a Japanese colony. Civil strife and foreign invasion are at stake, and the people's patriotic enthusiasm is unprecedented.

In order to unite the enemy and smash the encirclement and suppression of the Kuomintang counter-revolutionary culture,1In July, 930, under the leadership of the China * * * Production Party, the China Left-wing Artists Alliance was established in Shanghai. Its main members are Yu Hai, Hu Yichuan, Peng Xia, Zhang Hua and others. The work program of the meeting is "all members of american league must participate in political and economic struggles; Try to go to the factory, get close to the workers and the working masses, and publicize and educate them; It is necessary to go deep into the masses and create more works with the theme of working people; At the same time, it is necessary to support the Soviet area with artistic creation and provide political cartoons and textbook illustrations for the Soviet area. " The new woodcut movement in China was born in such an era of fierce class struggle and national struggle. The new woodcut movement in China was an important part of the whole left-wing literature movement in 1930s. The establishment of left-wing american league has greatly promoted the establishment of various woodcut societies. However, the new woodcut, known as "the drum of the times" and "the horn of revolution", was born in this environment and is bound to undergo a severe test.

As for why he advocated the new woodcut movement, Lu Xun himself explained it.

One: "During the revolution, printmaking was the most widely used. Although I am very anxious, I can get it in an instant. " [②]

Secondly, he believes that woodcut "is an art suitable for modern China" [3].

This is a correct judgment made by Lu Xun on the basis of carefully examining the history and present situation of Chinese and foreign art movements and combining the national conditions of China at that time. He said that "woodcut is a popular art", and now the emerging creative prints in Europe can be used to serve our revolution. In particular, the woodcuts of the Soviet Union at that time were even more brilliant. Learning from their experience can not only make woodcut youths learn from them, but also inspire and inspire the revolutionary enthusiasm and fighting spirit of China people. In addition, woodcut is simple and economical to make and easy to spread. But more importantly, among the masses and revolutionary ranks at that time, people's cultural quality was generally low, and the popularization of printmaking was overcoming this insurmountable problem by other propaganda methods. Therefore, in that case, the choice of printmaking art was in line with the national conditions and revolutionary needs of China at that time. Mr. Lu Xun is also aware of the great vitality of these new woodcuts, believing that they are revolutionary art, and advocating them "is the unanimous demand of the author and the public" is an urgent need of the counter-revolutionary struggle. So he shouted loudly and put forward the woodcut slogan of "going back to her mother's house". And began to make unremitting efforts to this end. Because of this, Mr. Lu Xun is also recognized as the founder and great mentor of China's new woodcut.

(3)

The woodcut workshop held by Mr. Lu Xun in August of 193 1 was regarded as the beginning of the new painting movement in China printmaking circles. But Mr. Lu Xun began to introduce European prints back to 1929. Mr. Lu Xun said: "The introduction of woodcut began in Chaohua Society." [4] Mr. Lu Xun's introduction to printmaking is mainly through two channels, one is to compile a collection of paintings, and the other is to hold a printmaking exhibition.

Mr. Lu Xun has compiled and published as many as 12 kinds of printed picture books.

1. Selected modern woodcut works (1), published in 1929+0.

2. Selected modern woodcut works (II), published in February 1929.

3. Selected New Russian Paintings, published in May 1930.

4. Simin land map, published in 193 1 year 1 month.

5. A person's sufferings, published in June 1933.

6. Emerald Collection was released in May 1934.

7. Collection of Soviet prints, published in July 1936.

8. Selected prints of "Opening Ears and Happy Meeting", published in July 1936.

9. One hundred pictures of the deceased, released in April 1936.

10. woodcut creation method, 1933 1 1. Mr. Lu Xun personally reviewed the preface, but for various reasons, the book was not published until 1937 1. It is the first book to guide woodcut creation in the history of China emerging printmaking.

Mr. Lu Xun's intention of importing a large number of foreign printmaking works is very clear, that is, to point out a correct path for China youth and let China printmakers "adopt foreign good regulations and give full play to them to make our works more full." [5] But he also advocated: "Choose China's heritage and integrate new machines to make future works unique." [6] To this end, he published two more music scores:

1, Notes on Peiping, published in February 1934.

2. A Brief Introduction to Shizhu Grottoes, printed in April, 1935.

Another way for Lu Xun to introduce foreign prints is to hold exhibitions. Mr. Lu Xun's life collection of foreign albums and original prints is extremely rich. In order to broaden the horizons of young printmakers and improve their skills, he held four foreign printmaking exhibitions in Shanghai:

1. "western woodcut exhibition", 1930 10, was held in Sichuan north road, Shanghai, and more than 70 famous European and American works were exhibited.

2. "Exhibition of German Writers' Prints", held in Shanghai Yinghuan Book Company from June 4th to 5th, 1932, with about 50 works on display.

3. The "German-Russian Printmaking Exhibition" was held in June 20/KOOC-0/4/KOOC-0/933 to/KOOC-0/0/0/4 to June/KOOC-0/5, with 66 works on display.

4. "Russian-French Book Illustration Exhibition", 1933 12-3, held in the YMCA of Shanghai, with 40 works on display.

And whenever the album is published, Mr. Lu Xun often donates it to his familiar woodcut youth for free; Whenever there is an exhibition, he tries his best to inform the woodcut youth to visit it; At the time of the exhibition, he also enthusiastically explained and introduced to everyone.

Later, due to Mr. Lu Xun's full advocacy, the influence of the left-wing literary movement and the needs of the revolution, the emerging woodcut movement in China began to train talents and create in the form of organizing woodcut groups from 65438 to 0930.

The first community in the history of modern printmaking in China was1May, 1930, the 18th Art Society split from the 18th Art Society of West Lake.

"West Lake Eighteenth Art Society" was established in June 1929 65438+ 10/2 in the National West Lake Art Academy. Founded in 18, it was named after September 18th. It advocates "learning for art". 1930 In the spring, members Chen Guang (Chen Zhuokun), Chen Tiegeng (Chen Yaotang) and Yu Yuhai (Yu Yuhai) were deeply dissatisfied with Lu Xun's translation of Soviet Russian literary theories and printing of European prints. In order to break through the quiet atmosphere in the school and explore new ways of artistic creation, they resolutely split from the "West Lake Eighteen Art Society".

After the reorganization, the team of "Eighteen Art Clubs" grew rapidly, and Hu Yichuan, Li Keran, Wang Zhanhui (Wang) and () all joined in. /kloc-in the autumn of 0/930, Hu Yichuan took the lead in creating woodcuts. However, the students' "left leaning" was not tolerated by the reactionary authorities of the Kuomintang. Later, the main members of the "18th Art Club" were accused of being "left leaning" and expelled from the school.

193 1 In the spring of,, Chen Tiegeng, Yu Hai and others moved to Shanghai, and together with the progressive youth (decorated by Jiang Feng), Zhong and Huang, they initiated the establishment of the Shanghai 18th Art Society Research Association. 193 1 In June, Hu Yichuan and Xu from Hangzhou Bayi Art Club came to Shanghai with their works. With the care and support of Lu Xun, they held the "Exhibition of Bayi Art Club 193 1 year". It was in this exhibition that woodcut works first appeared. They are Hu Yichuan's Hungry People, Displacement and Wang Zhanhui's Commemorating the Five Dead. Although this exhibition is not a woodcut exhibition, it is the first art exhibition with woodcut creation in China, which is of epoch-making significance. The works face reality, revolution and people, which is in sharp contrast with the so-called "art for art's sake" at that time. This exhibition also shows the emerging woodcut art, which is not only the art of the people, but also the art of revolution.

Lu Xun was very happy to learn that the new woodcut art he advocated was responded by the youth of the 18th Art Society. He also said with emotion that these woodcut works are "with a clear consciousness and strong efforts, showing the growing robust buds in the hazel tree." And boldly predicted that this emerging art form will be from small to large, from weak to strong, defeating the bourgeois and feudal "elegant" art, which seems to be powerful, "deceptive and scary." At the same time, the 18th Art Club has also received strong support from the leftist alliance. The full text of Literature and Art News, the organ newspaper of the Leftist League, published Lu Xun's Introduction to the Exhibition of Eighteen Art Societies.

Just then, Lu Xun's Japanese friend Kazuyuki Uchiyama's younger brother came to Shanghai. Jiaji is an art teacher and printmaker at Chengcheng Academy in Tokyo, Japan. In view of the shortage of printmaking teachers in China at that time, young woodcut artists urgently needed to master woodcut techniques. Lu Xun invited Kasi Neishan to teach woodcut knowledge to young woodcut artists in China. After confirmation, Lu Xun asked Mr. Feng Xuefeng to inform the left-wing United Arab League to select a group of students to prepare for teaching and learning.

193 1 07 August 17, the "woodcut workshop" sponsored by Mr. Lu Xun started teaching in a Japanese school classroom on the roof of a three-story building at the bottom of Changchun Road, Shanghai, and lasted for one week until the 22nd. Every lecture, Lu Xun not only translated it himself, but also brought a batch of foreign prints (such as British woodcuts and German prints) to the students for observation and analysis. In the seminar class, the students listened and practiced, and everyone created exercises. When they graduated, Lu Xun and Uchiyama Kaji took a group photo with their classmates. Through this workshop, the woodcut knowledge and woodcut techniques were initially popularized, and a woodcut team with initial scale was initially formed, which cultivated the backbone for the development of the emerging printmaking movement, sowed the fire and accumulated strength.

After the seminar, the new woodcut movement in China first reached its first climax in Shanghai. Woodblock societies blossom everywhere, and woodcut creation appears frequently. These societies are: MK woodcut research society, modern woodcut research society, Shanghai woodcut research society, Springfield painting society, Yesui woodcut society, Wuming woodcut society and so on. Although these societies were in the period of the enemy's white terror and "Left-leaning" blindness, their activities were extremely difficult, but they continued to rise and fall, showing extremely tenacious vitality.

MK Woodcut Research Institute was founded in September 193 1 2000, and the founders were Zhong and Deng, members of the Woodcut Studio of Shanghai Academy of Fine Arts. There are more than 40 members before and after, and the activity time is more than two years. It is a woodcut group that was established earlier and existed for a long time. It holds an exhibition of academic works in the school every six months, and has been exhibited four times, from 1933 to 10. At the opening of the fourth exhibition, Lu Xun personally visited and bought six works. 1on may 20th, 934, Lu Xun received a letter from MK woodcut research society and the manuscript of woodcut collection. The manuscript is a collection of works to be published by the association, and it is sent to Lu Xun for preface. However, the MK Woodcut Research Association had to stop its activities because its members were arrested.

At the same time as MK woodcut research society, modern woodcut research society was established. The initiators are Jiang Feng, Chen Tiegeng, Huang, Ni Huanzhi, Zhong, Hu Yizhuan and Yu Hai from the 18th Fine Arts Society. Later, perhaps because of financial reasons, the club failed to continue.

1932 In May, under the leadership of the left-wing Midland Alliance, Shanghai also established the Spring Painting Society and the Shanghai Woodcut Research Society. Spring Painting Society, founded on May 22nd, 1932, is mainly composed of woodcuts, and its basic members are Jiang Feng, Li, Chen Yanqiao, Liu Yingzhou and Ai Qing. In June, 1932, the association held the "Spring Art Exhibition". The exhibits are mainly woodcut works of members. "Yinghuan Bookstore participated in the production of dozens of works by German artists". [7] On June 26th, when Lu Xun visited, he bought more than one woodcut 10 and donated it to 5 yuan. This exhibition is known as "the most youthful page of the art movement in China". Spring painting was destroyed by the Kuomintang authorities after the meeting. At the same time, the activities of Shanghai woodcut research society are also under way. [8] After the Spring Painting Society was destroyed, some surviving members contacted Hu Yichuan, Mada and Cheng Woza. And in August 1932, the Wild Wind Painting Society was established. When it was founded, Lu Xun donated money from 20 yuan for activities. After its establishment, Lu Xun went to the association twice to talk and give lectures, giving guidance on how to go deep into life, improve skills, realize the popularization of woodcut art, and pay attention to the strategy of fighting against the enemy.

The Wild Wind Painting Society has existed for half a year. After the event stopped, there were woodcut groups such as Kong Tao Painting Society and Dida Painting Society. But they all ended up because of the destruction of the enemy. Among these woodcut groups similar to guerrillas, Yeer Woodcut Society is the oldest one, which has been devoted to woodcut creation. Founded in the spring of 1933. Its basic members are Chen Yanqiao, Chen Tiegeng, how. They are closely related to Mr. Lu Xun. 1June, 933, the agency presented Mr. Lu Xun with a printed woodcut. Later, they helped Mr. Lu Xun collect woodcut works and sent them to France to participate in the "Revolutionary China New Art Exhibition".

In addition to the above organizations, there are also unknown woodcut societies active in Shanghai. 1933 was founded in Shanghai Academy of Fine Arts, and 1934 was renamed as Unknown Woodcarving Society. Its founder is Wang Zhi Team, and its main members are Huang Xinbo, Cai,. Woodblock groups carry out activities by studying and studying woodcut, creating and publishing their own woodcut works. At the beginning of The Unknown Woodcut Collection, Wang Zhihui asked Mr. Lu Xun to make a preface, which is another document that Mr. Lu Xun "shouted" for the new woodcut art in China. While giving support to the obscure woodcut society, Mr. Lu Xun also gave sincere criticism. For example, greedy for quick, ignoring quality and so on. All these reflect Mr. Lu Xun's love for young artists and concern for the healthy growth of the new woodcut movement.

The successor of the 18th Society of Hangs is Mupian Research Society, which was founded in February 1933 and initiated by Li Qun, Ye Naifen. Their mission is to contribute woodcut art to the public and promote the progress of the times. After the establishment of this institution, two exhibitions were held on April 0 1933 and June 5 15 respectively, with 60-70 works each time. After the first exhibition, Shoutuo published the Muzaki exhibition. After the second exhibition, 1000 copies of Woody Suzuki prints were printed in lead. I took this opportunity to dedicate my works to the public and also to my teacher Lu Xun. 1933 in June, the agency's activities were forced to terminate.

1in the summer of 934, due to the crazy "encirclement and suppression" of counter-revolutionary forces, the woodcut society was completely destroyed, and the Shanghai-Hangzhou printmaking movement turned into a trough.

But this does not mean the extinction of woodcut movement, on the contrary, it has contributed to the transfer of woodcut center. 1June, 934, Lu Xun compiled the Chronicle of Woodcut, made a brief introduction in person, and designed a seal cutting painting under the pseudonym of Tiemu Art Society. This album has 24 works, 120 original machine prints. Although Mr. Lu Xun once said, "I don't know about the woodcuts in Beiping and Tianjin." However, the original organizers of the woodcut movement in northern China were some young people of the 18th Art Club who were influenced and cared by Mr. Lu Xun. For example, under the influence of the Northern Left League, Wang, Wang and Wang established the Beiping Woodcut Research Association and held two exhibitions.

Ping Jin woodcut research society was established in September 2005, 1934, with Xu heduan as its main creative force. Their most outstanding contribution in the history of modern woodcut in China is to initiate and organize the national woodcut joint exhibition for the first time. After the revelation of the exhibition collection was issued, Mr. Lu Xun was the first to give support. He sent 32 woodcuts collected over the years and a woodcut history written at his own expense. On June 65438+1 October1day, the national woodcut joint exhibition sponsored by Ping Jin woodcut research society was held in Beiping Ancestral Temple. The works of the national woodcut joint exhibition were exhibited by Jin and Jin in Tianjin, Jinan, Hankou, Taiyuan and Shanghai. At the same time, they also imitated Mr. Lu Xun to organize woodcut workshops. Woodcutting lectures are held everywhere to publicize woodcut knowledge and cultivate woodcut talents. Have great influence.

While supporting the woodcut research society in Ping Jin, Mr. Lu Xun also actively supported the Guangzhou Modern Printmaking Society.

1934 June19, Li Hua initiated and organized the Modern Creative Printmaking Research Society (hereinafter referred to as Modern Edition Painting Society) in Guangzhou Academy of Fine Arts. At first, there were 27 participants, including, Tang, Chen Zhonggang, Liu Lun, etc. 1in the winter of 934, when Mr. Lu Xun learned that Li Hua organized a modern printmaking meeting, he was very excited and said, "I deeply hope that the gentleman composition will be the pillar and center of printmaking development." [9] Since then, the Modern Printmaking Association and the Peace Gold Woodcarving Research Association have echoed north and south, effectively promoting the development of the emerging woodcut movement in China. As far as woodcut creation, publishing books and exhibitions are concerned, in the 1930s, almost no group could compete with modern printmaking. He has published the series of Modern Prints 18, and also published four issues of Woodcut Circle to expand the publicity of woodcut movement. Another outstanding contribution of the Modern Printmaking Society was to launch and hold the "Second National Woodcut Mobile Exhibition" at the turn of spring and summer from 65438 to 0936. From July 5th, 1936 to June 5th, 1936, 10, the second national woodcut mobile exhibition was exhibited for the first time in Zhongshan Library, Guangzhou. Later moved to Hangzhou and Shaoxing. 193610/kloc-0 moved to Shanghai for exhibition from 2 to 8 October. Mr. Lu Xun was seriously ill at that time, but he went to watch it anyway. Seeing Li Hua's woodcut comic book Dawn, because there are as many as 90 books, Mr. Lu Xun said: "There are not so many comic books, but it is better to have twenty or thirty books. Short and pithy is often more powerful than long stories, and writers should cherish their energy and time. " After reading it, Mr. Lu Xun said with relief: "Generally speaking, this time is naturally much better than before." Later, he had a discussion with the young woodcut artists present, and expressed his incisive views on the authenticity of woodcut creation and the writer's cultivation. This dialogue with young woodcut artists is the last gathering of teachers and young people.

After 1935, due to the efforts of young woodcut artists and the influence and promotion of two national woodcut exhibitions, the emerging woodcut movement in China developed more rapidly. After 1935, the woodcut movement in Shanghai revived and rose again. One of the signs is the establishment of "Tiema Printmaking Club". 1936 65438+1On October 30th, Jiang Feng, Ye Fu, Woza and Wen Tao organized an iron horse painting meeting in Shanghai. "Iron Horse Prints" has been published for three issues. After the publication of The Iron Horse Prints, it was immediately presented to Mr. Lu Xun. Mr. Lu Xun also placed high hopes on the agency. In his letter to Ye Fu, he said, "I think it is necessary and beneficial to organize a group to publish a periodical about Ye Zhi's works on a large scale. I hope Ma Tie Club can do this job well. " Attending another symbol of the upsurge of Shanghai printmaking movement is the birth of "Knife Woodcarving Research Society". Their activities are often woodcut leaflets, which go deep into factories and carry out anti-Japanese propaganda activities in the name of "Professional Salvation Association". Just as the woodcut movement reached a new climax, the great mentor Mr. Lu Xun died unfortunately.

The news soon spread all over China, and the whole country was plunged into grief. However, young woodcut artists in China deeply understand that the best memorial to their teachers is to carry forward the woodcut printmaking career that Mr. Lu Xun once fully promoted.

1In July, 937, Li Hua, Li Qun, Xin Bo, Jiang Feng, Bai Cao, Ye Fu, Chen Yanqiao and Fu Lin began to organize the third national mobile woodcut exhibition, but when the works were being collected, they were aborted because of the July 7th Incident.

At this point, the new woodcut movement in China ended its initial course.

Looking back on the history of the emerging printmaking movement in China, it is self-evident that Mr. Lu Xun has made outstanding contributions in introducing western printmaking and promoting the emerging woodcut movement. At the same time, in the theory of printmaking, Mr. Lu Xun also put forward many theoretical and instructive insights, which can be summarized as the following six aspects: printmaking is for the public, people-centered, excellent skills, works that are easy to understand, inheritance and nationality. These printmaking theories of Lu Xun are of great guiding significance for promoting the development of modern printmaking in China along the road of revolutionary realism, absorbing the advantages of western printmaking, inheriting the essence of traditional printmaking, and creating prints with national style and style. China's new woodcut is in its infancy, influenced by European prints, which leads to the lack of unique national style. It is precisely because of this that Mr. Lu Xun's thought has far-reaching historical guiding significance.

Regarding Mr. Lu Xun's contribution to the new woodcut, Mr. Zhao Yannian, a contemporary printmaker, said: In the final analysis, all this is thanks to Mr. Lu Xun. Without his strong support and inculcation, woodcut youth could not have such a clear mind and clear goals.

(4)

1937 In March, Shanghai Woodcut Writers Association was established. Since then, the new woodcut movement in China has entered the second stage-the woodcut period of the eight-year anti-Japanese war.

During the period of War of Resistance against Japanese Aggression, in Yan 'an, the headquarters of The Central Committee of the Communist Party of China (CCCPC), woodcut artists seeking revolution and progress found suitable development soil after losing the director Lu Xun. From 1936 to 1940, Hu Yichuan, Woza, Jiang Feng, Motor, Chen Tiegeng, Zhang Wang and Li Qun came to Yan 'an one after another, and most of them concentrated in Lu Xun College of Literature and Art (Lu Yi for short). Lu Yi was founded in the spring of 1938. Except for a few cartoonists and oil painters, the cadres and teachers in the fine arts department of this college are mainly woodcuts. 1942 after the publication of "Speech at Yan 'an Forum on Literature and Art in Mao Zedong", woodcut workers and artists took art as the principle, served the workers, peasants and soldiers, went deep into the countryside, factories and frontline to participate in fierce revolutionary struggles, and at the same time borrowed from folk art to explore new forms of woodcut in China, resulting in a number of woodcut works with high ideological, artistic and national styles, such as Gu Yuan. Some fought for grain, helped immigrants build houses, Li Qun helped people repair spinning wheels, some Eighth Route Army helped farmers harvest in autumn, Shilu transformed the western landscape, Luo's mother and so on. These works are vivid and easy to understand, which overcome the Europeanization tendency in early woodcuts and have strong national characteristics. At the same time, they also turned a new page for China woodcut.

References:

1. A General History of China Prints, Wang Bomin Hebei Publishing House, June 2002, first edition.

2. China Modern Printmaking History Li Yunjing Shanxi People's Publishing House 1996 10 First Edition.

3. Lu Xun and Woodcarving (Japan) First Edition Neishan Jiaji Nara People's Fine Arts Publishing House 1985 10.

[1] See Lu Xun: A Brief Introduction to Beiping Music.

[2] See Lu Xun: "Selected Works of New Russian Painting".

[3] See Lu Xun: "The Preface of Woodcut Creation".

[4] See Lu Xun: "The Background of Woodcut Chronicles".

[5] See Lu Xun: "The Background of Woodcut Chronicles".

[6] See Lu Xun: A Brief Introduction to Woodcut Chronology.

⑦ The exhibit 1932 of "German Printmaking Exhibition" hosted by Lu Xun in June.

[8] is actually the external name of the woodcut research society under the Spring Painting Association.

[9] See Lu Xun: 1934 12 18 to Li Huaxin.

(attending) see Lu Xun's letter to Ye Fu in February 1936.