The theme of the family in Soviet and Chinese woodcuts of the 1930s-1950s.

Guanwen Wu
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Abstract

The article examines the features of the image of the family theme in the woodcuts of China and the USSR of the 1930s-1950s. The subject of the study are Soviet and Chinese woodcuts of the 1930s-1950s. The focus is on the analysis of the processes of interaction and mutual influence of graphic art of the two countries, special attention is paid to the study of expressive means and techniques used by artists to convey images of people within the family theme. The reasons for the appeal of the masters of engraving of the time under consideration to the theme of family, the embodiment of eternal universal values in the works, which became a common feature and trend of graphic art of the two countries in the middle of the twentieth century, are revealed. The scientific novelty lies in the introduction into scientific circulation and analysis of the works of woodcut of Russia and China, the identification of common and different features in the subject of Chinese woodcut and Soviet engravings of the 1930s-1950s. The study shows and substantiates the significant influence of Soviet realistic art on the work of Chinese masters, reveals the patterns of development of Chinese woodcut art in the period under review. In conclusion, the gradual appeal of Chinese artists to their own national heritage and the strengthening of the national identity of Chinese art in the middle of the twentieth century is noted, the causes of these processes in the artistic life of the country are revealed.
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20世纪30年代至50年代苏联和中国木刻作品中的家庭主题。
本文考察了20世纪30年代至50年代中国和苏联木刻作品中家庭主题形象的特点。此次研究的主题是20世纪30年代至50年代的苏联和中国木刻。重点是分析两国图形艺术的相互作用和相互影响的过程,特别注意艺术家在家庭主题中传达人物形象的表现手段和技术的研究。揭示了20世纪中叶两国版画艺术共同的特点和趋势,即以家庭为主题,体现永恒的普世价值,在作品中引起当时版画大师的共鸣的原因。科学的新颖性在于将俄罗斯和中国的木刻作品引入科学的流通和分析,找出20世纪30年代至50年代中国木刻和苏联木刻题材的共同点和不同点。研究显示和证实了苏联现实主义艺术对中国大师作品的重大影响,揭示了中国木刻艺术在回顾时期的发展模式。最后,我们注意到中国艺术家在20世纪中期对自己民族遗产的逐渐诉求和中国艺术的民族认同的加强,并揭示了这些过程在中国艺术生活中的原因。
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