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Zhongguo xian dai mu ke de yi shu sheng chan (1930 zhi 1940 nian dai) = = The Art Production of Modern Woodcut in China (1930s and 1940s).

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Zhongguo xian dai mu ke de yi shu sheng chan (1930 zhi 1940 nian dai) =/
其他題名:	The Art Production of Modern Woodcut in China (1930s and 1940s).
其他題名:	Art Production of Modern Woodcut in China (1930s and 1940s)
作者:	Yang, Ru.
面頁冊數:	1 online resource (277 pages)
附註:	Source: Dissertations Abstracts International, Volume: 83-10, Section: B.
Contained By:	Dissertations Abstracts International83-10B.
標題:	Fine arts. -
電子資源:	click for full text (PQDT)
ISBN:	9798426804579

Zhongguo xian dai mu ke de yi shu sheng chan (1930 zhi 1940 nian dai) = = The Art Production of Modern Woodcut in China (1930s and 1940s).
Yang, Ru.

Zhongguo xian dai mu ke de yi shu sheng chan (1930 zhi 1940 nian dai) =The Art Production of Modern Woodcut in China (1930s and 1940s).Art Production of Modern Woodcut in China (1930s and 1940s) - 1 online resource (277 pages)

Source: Dissertations Abstracts International, Volume: 83-10, Section: B.

Thesis (Ph.D.)--The Chinese University of Hong Kong (Hong Kong), 2021.

Includes bibliographical references

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 far-reaching 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'.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798426804579Subjects--Topical Terms:

1112523
Fine arts.
Subjects--Index Terms:

Art productionIndex Terms--Genre/Form:

554714
Electronic books.

Zhongguo xian dai mu ke de yi shu sheng chan (1930 zhi 1940 nian dai) = = The Art Production of Modern Woodcut in China (1930s and 1940s).
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