KCI등재
1930~40년대 중국목판화에 미친 서구미술의 영향 = The Influence of Western Art on Chinese Woodcuts during the 1930s and 1940s
저자
鄭恩先 (국립중앙미술관 자료실)
발행기관
학술지명
권호사항
발행연도
2004
작성언어
Korean
주제어
KDC
609
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
167-202(36쪽)
KCI 피인용횟수
2
제공처
What we cannot omit in the discussion of Chinese modern art history is the discussion on modern woodcuts. The undergraduates of the college of fine art who participated in the movement of woodcuts during the 1930s and 1940s continue to act as wood-block artists, oil painters and chrysanthemum artists in the later generations, and the formation of modern woodcuts distinguished from traditional wood-block prints was made in the thirties as a starting point Also, because the point of time making a stroke between duplicated wood carving and created wood engraving in the history of wood-block prints is this period It is necessary to pay attention to the thirties and forties in the history of Chinese wood-block prints.
The revival of woodcuts can be said to gear into the situation existent China was located in, that is, the social situation of the twenties and thirties. Globally, this is not irrelevant to the rediscovery of created woodcuts in German movement of woodcuts and the West. Therefore, what is noteworthy among all the phenomena of the thirties is Western influences In view of the history of negotiating with the West in the history of China, China has maintained its closing attitude toward Occidental cultures since it was communized in 1949 and has disconnected also its exchanges with Soviet since the period of cultural revolution The exchanges with foreign countries and positive acceptance of Western cultures in the thirties are said to be meaningful in such points.
Between 1919 and 1929, the books dealing with on Western art theories and aesthetics were published in more than hundreds of pieces In the modes of fine art, impressionism, neo-impressionism, Fauvism and German expressionism were brought in by the students studying abroad in Paris and Germany However, students in the college of fine art including Luxun were more interested in social critical art rather than performing art.
Chinese woodcuts during the thirties to forties seems to have been developed mainly centering on exhibitions and collections of wood-block prints In the thirties, there were exhibitions and brief courses of woodcuts that held total thirty-odd times, and it was through Yewonjohwa" series that foreign wood-block artists and their works were introduced into China Through this book of paintings were Carl Meffert, Kathe Kollwitz, Franz Masereel, Pavorsky, Pisakarev and Kravchenko introduced. These artists considerably popular to Chinese woodcut artists, were wood-block artists favoring for expressionism and realism
Their thoughts and modes were formed through the process of popularization of modem woodcut movement It was the acceptance of Western wood-block prints that made a great contribution to the initial stage of forming such Chinese modern woodcuts. Luxun introduced Soviet and European wood-block printing works through exhibitions and books of wood-block prints between 1930 and 1936. Eventually, the acceptance of Western wood-block prints must have been selected according to Luxun's understanding of Western wood-block prints and evaluating them Luxun paid attention to artists' artistic qualities and talents, artists' senses and experiences and messages conveyed by their works in introducing Western artists to Chinese woodcut artists
One of the great characteristics of Western woodcuts selected on these foundations was on relevancy with literature and realistic modes. This is related to the revolution of books in Russia, and Russia encouraged consecutive works and illustrations as artistic forms and adopted them as popular forms. Luxun introduced the works of Western artists as an example of consecutive paintings. Kathe Kollwitz's consecutive works of "Peasants' War" and "Workmen", Karl Mefert' s illustration of "Cement", Piskarev' s "The Stream of Iron" and Alexeev' s illustration of "A Mother" are commonly consecutive works and have having one story in common. Also, Franz Maasereel's consecutive works of "A Man's Passion" and "The Sun" as novels without characters can be taken as an example of introducing the artisticality of consecutive works to Chinese woodcut artists
Another great characteristics of Western woodcuts which was popular in China are realistic elements. Also, in the line of German expressionists, Kathe Kollwitz is a wood-block artist commanding more realistic description and also Franz Masereel is a wood-block artist evaluated as an artist of realistic description. Also, as for the works of Soviet wood-block artists, the works of wood-block artists describing reproductively and realistically rather than cubism or futuristic works were popular to Chinese woodcut artists in the later generations
분석정보
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2027 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2021-01-01 | 평가 | 등재학술지 유지 (재인증) | KCI등재 |
2018-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2015-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2011-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2009-01-01 | 평가 | 등재학술지 유지 (등재유지) | KCI등재 |
2007-01-01 | 평가 | 등재 1차 FAIL (등재유지) | KCI등재 |
2004-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | KCI등재 |
2003-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | KCI후보 |
2002-01-01 | 평가 | 등재후보 1차 FAIL (등재후보1차) | KCI후보 |
2001-01-01 | 평가 | 등재후보학술지 선정 (신규평가) | KCI후보 |
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.64 | 0.64 | 0.61 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.65 | 0.63 | 0.82 | 0.07 |
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