我院专业从事口译、笔译、同声传译、同传设备租赁、会务策划为一体的高科技集体企业，专注于提供高端翻译服务（高质量笔译、同声传译、工程现场口译、古文、诗歌、书籍出版、影视配音等），业务范围辐射整个长三角地区。
苏州东方翻译院拥有雄厚翻译实力及资源优势，力争为苏州、无锡、昆山、张家港、常熟等苏南城市提供最优质的、速度最快的纯母语翻译服务，业务范围涉及70多个语种。
艺术与革命——中国新兴版画运动1930至1949
展览方案
Art and Revolution: China's New Woodcut Movement (1930-1949)
Plan of the Exhibition
展览理念
Exhibition concept
20世纪30年代，由中国现代伟大的文学家、思想家鲁迅先生倡导的具有现实主义激情的中国新兴木刻运动掀开了中国美术史上极为重要的一页。版画，中国自古就有，但由艺术家独立创作完成而不假工匠之手的新兴木刻运动却是中国现代版画艺术的开端。二十世纪上半叶的中国，内忧外患，民不聊生。在这片苦难的土地上发展起来的新兴木刻运动与蓬勃汹涌的民族解放斗争紧密地结合起来，是这场运动留给中国艺术史的最大特征。
In the 1939s, China's New Woodcut Movement, a movement with realistic passion advocated by the great modern writer and thinker Lu Xun, opened up a crucial chapter in the history of Chinese fine arts. Though woodcut had existed since ancient times, the movement, which involved artists' creation independent of the work of artisans, marked the beginning of modern Chinese woodcut. In the first half of the 20th century, China was beset by troubles at home, aggression from abroad, and her people lived in dire poverty. Conceived on this land of misery, the movement was closely connected with the surge of the national liberation movement. That is the most indelible mark it left on the Chinese art history.
1931年夏，鲁迅先生在上海举办了“暑期木刻讲习会”，邀请日本美术教师内山嘉吉先生讲授木刻理论和技巧，由鲁迅先生亲自担任翻译和讲解。讲习会时间很短，但却培养了一批青年版画家，他们后来均成为中国现代版画发展的中坚力量。这个讲习会被认为是中国新兴版画运动的开端，但事实上，在上世纪二十年代，鲁迅先生就通过举办版画展览会和编印大量的版画画集将欧洲和日本的木刻作品引入了中国。这些画集是中国最早介绍国外木刻作品的画集，其中很多由鲁迅先生亲自设计封面、版式及撰写引言、附记，足见鲁迅先生对版画推广的重视。在众多的国外版画家中，鲁迅先生对德国版画家珂勒惠支、梅斐尔德和比利时版画家麦绥莱勒等一批具有现实主义反叛精神的版画家最为推崇。他认为在当时的世界美术中，他们的艺术是最贴近人民、关怀人民的艺术，是愈看愈有动人之力的艺术，是做了牺牲的人民的沉默的声音，是为人类争取消灭剥削和战争的有力武器。这种具有强烈生命力的艺术正是积弱的中国所需要的。
In the summer of 1931, Lu Xun held the Summer Woodcut Seminar in Shanghai. He invited Japanese art teacher Uchiyama Kakitsu to teach the theory and techniques of woodcut, and personally served as the interpreter and teaching assistant. Though it lasted for a short time, the seminar trained a number of young woodcutters, who became the elite of the development of modern Chinese woodcut. Though it is considered the beginning of China's New Woodcut Movement, in as early as the 1920s, Lu Xun had introduced European and Japanese woodcut into China through woodcut exhibitions and many woodcut albums. These were the first albums of foreign woodcuts in China, and Lu Xun showed the importance he attached to the promotion of the art form by designing the covers and formats and wrote the introductions and remarks for many of them. Of all the foreign woodcutters, the most revered by Lu Xun are rebellious realists, such as Kathe Kollwitz and Carl Meffert from Germany and Franz Masereel from Belgium. In his opinion, among world fine arts, their art was the closest to and most concerned with the people; its appeal would grow with appreciation, for it was the silent voice of sacrificing people and mankind's powerful weapon for eliminating exploitation and war. That kind of art, with a strong vitality, was badly needed by the weak nation.
在鲁迅先生的大力扶植和保护下，一大批青年艺术家投身到了版画的创作中；新兴版画团体如雨后春笋般涌现。他们抱着“为社会而艺术”的信念，深入人民大众的生活，体察他们的疾苦，创作出大量反映人民生活、斗争的现实主义作品，以画笔为武器，表达或同情，或愤怒，或批判的感情，描绘出了人民的困苦与呼声，为中国美术史留下了具有鲜明时代特色的版画作品。这些作品一方面吸收借鉴了欧洲版画富于表现性的技法和语言，一方面为了更好地被中国的大众所理解而融入了中国的一些传统特色和民间趣味，形成了中国艺术现代化进程中的一个活力分支，在革命年代起到广泛而深刻的宣传和鼓舞作用。
Thanks to Lu Xun's vigorous support and protection, a large number of young artists devoted themselves to woodcut and new woodcut groups mushroomed. With the idea of 'art for society's sake', they lived among the people, felt their sufferings, and created plenty of realistic works reflecting their life and struggle. With the graver as their weapon, they expressed sympathy, indignation or criticism and depicted people's tribulations and appeals, leaving works distinctly characteristic of the times in the Chinese art history. On the one hand, these works incorporated expressive techniques and language of European woodcut; on the other hand, they absorbed traditional features and folk taste so as to be more easily understood by the masses. They formed a vigorous branch of the modernization of Chinese art and played a far-reaching role in propaganda and encouragement in the revolutionary era.
在整个二十世纪上半叶中国的艺术活动中，新兴木刻运动的规模和对后世的影响力是其他团体和流派不能比拟的。本次展览就是对这一艺术运动的集中展示。以艺术与革命为题是对这一运动在那个特殊的历史时期与国家命运休戚与共的昭示。
Of all the Chinese artistic activities throughout the first half of the 20th century, the New Woodcut Movement had an influence on posterity incomparable with that of any other group or school. This exhibition is a focused display of that movement. The title 'Art and Revolution' indicates its inextricable link with the destiny of the nation during that special era.
展览结构
The structure of the exhibition
展览以时间和内容为线索，分为四个部分：
The exhibition is divided into four parts according to time and contents.
1. 新兴的萌芽
段首：
时代是在不息地进行，现在新的、年轻的、没有名的作家的作品站在这里了，以清醒地认识和坚强的努力，在榛莽中露出了日见生长的健壮的新芽。自然，这是很幼小的。但是，惟其幼小，所以希望就正在这一面。
——《一八艺社习作展览会小引》
1931年5月
1. The budding
Introduction
The times advance incessantly. Here are works by new, young and unknown artists, putting forth growing, robust buds in brambles with sober awareness and tenacious efforts. Surely they are tender, yet in their very tenderness lies hope.
--'Introduction to the Exhibition of Studies of the ... Art Society, May 1931
2．民主的呐喊
段首:：
中国新兴的木刻，一开始，它就是在斗争的。七年以来，由于我们的伟大的鲁迅先生之领导，由于从事木刻同志们的血的洗礼，和自身的艰苦的工作，我们一天也没有忘记过自己的任务：斗争——与黑暗和强暴相搏斗。
——《上海木刻作者协会成立宣言》
1936年11月
2. The call for democracy
Introduction
China's new woodcut has been struggling from the very beginning. Over the past seven years, under the leadership of the great Lu Xun, thanks to the bloodshed of woodcutters and our painstaking efforts, we have never forgot for a single day our task, which is to struggle with darkness and tyranny.
--'Declaration of the Founding of Shanghai Woodcutters' Association', November 1936
3．战斗的利器
段首：
如果我们把中国木刻只圈在木刻的范畴就是偏狭的见解；以木刻始，以木刻终决不是这一运动的路向。我们应该肯定的说：木刻否定过去脱离大众的绘画和负起建立中国新绘画——现实主义绘画——的责任。
我们最可凭借的力量是新兴木刻的新现实主义的实践。新木刻开始萌芽的时候，便以大众为对象，以启导大众，改造社会，辅导政治，争取全民族解放，拥护民主为中心。
——《十年来中国新兴木刻运动的总检讨》
1940年11月
3. A powerful weapon for battle
Introduction
It would be narrow-minded to confine Chinese woodcut to woodcut itself, for the progress of the movement would by no means start with woodcut and end with woodcut. We should assert that woodcut has negated painting of the past, which was detached from the masses, and has undertaken the task of establishing realism as a new approach to Chinese painting.
What we can rely the most upon is the neo-realistic practice of new woodcut. Ever since its budding, new woodcut has been targeted at the masses, focusing on enlightening them, transforming society, assisting politics, seeking national liberation, and embracing democracy.
--'A General Examination of China's New Woodcut Movement in the Past Decade', November 1940
4．大众的播散
导言：
艺术也如其他的文化一样，是跟着时代的巨潮而生长着演进着的，所以现代的艺术必然地要走向新的道路，为新的社会服务，成为教养大众，宣传大众与组织大众的很有力的工具，新艺术必须负着这样的使命向前迈进。
——《春地画会成立宣言》
1932年5月
4. Dissemination among the masses
Introduction
Like other forms of culture, art grows and evolves along with the mighty tide of the times. Therefore, modern art inevitably takes a new road, serving a new society as a powerful vehicle for enlightening, stimulating and rallying the masses. The new art must shoulder that mission while it advances.
--'Declaration of the Founding of the Spring Field Art Society, May 1932
展出内容
Exhibits
1新兴木刻作品
2书籍\期刊
3鲁迅编印的版画集
4鲁迅藏国外版画家作品
5老照片
1. New woodcut works
2. Books and periodicals
3. Woodcut albums compiled by Lu Xun
4. Foreign woodcuts collected by Lu Xun
5. Old photos
【发布时间】2014-01-10 【信息来源】管理员 【浏览点击】2995次
