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鲁迅先生是中国近代新兴木刻版画之父,他在《木刻纪程》小引开篇写道:“中国木刻图画,从唐到明,曾经有过很体面的历史。但现在的新的木刻,却和这历史不相干。新的木刻,是受了欧洲的创作木刻的影响的。”1因此鲁迅除了积极引进欧洲原拓版画,将自己收藏的欧洲(主要是德国和苏联)、美国和日本的版画拿来办
Mr. Lu Xun, the father of the emerging woodcut of modern China, wrote in his small introductory chapter: “Chinese woodcut drawings, from the Tang to the Ming, had a very decent history, but now the new woodcut, But this history is irrelevant.The new woodcut was influenced by the European creative woodcut. ”1 Therefore, in addition to actively introducing the European original printmaking, Lu Xun included his own collections of Europe (mainly Germany and the Soviet Union), the United States and Japanese print used to do