将“明朗的天”这个词放在解放区木刻版画集的前面,这是颇有象征意味的。从1937年到1949年正是新民主主义文化在边区大踏步前进的时期,这一时期陕北的明朗的天空,恰恰与这以前的阴云惨雾的神州大地形成了一个鲜明的对照,而新兴木刻运动的诞生与成长,正是这两个完全相反的时代的见证人。 撰写新中国美术史的学者们,请你们在揭开美术史的序幕时不要忘记这样三件大事。 第一件,在30年代初期诞生的新兴木刻运动,是我们的旗手鲁迅先生一手培育起来的。从举办木刻训练班开始,请日本专家讲课、自己当翻译,由上海最初二十几个学生发展到后来遍及全国的许多青年 It is quite symbolic to place the word “clear day” in front of the collection of woodcut engravings in the Jiefang District. From 1937 to 1949, it was the time when the new-democratic culture made tremendous strides in the border area. During this period, the bright sky in northern Shaanxi formed a sharp contrast with the previous vast and gloomy state of China. The emerging woodcut The birth and growth of the movement is the witness of these two diametrically opposite times. Write scholars of new Chinese art history, please do not forget the three major events in the history of art history. The first, the emerging woodcut movement born in the early 1930s, was nurtured by our bannerman, Mr. Lu Xun. Starting from holding a woodcut training class, I invited Japanese experts to give lectures and translate myself. From the first two dozen students in Shanghai to many young people who later spread all over the country