1930년대 廣東省 廣州의 목판화 잡지 『現代版畫』 연구: 李樺의 작품을 중심으로

Abstract

Modern Prints was the pictorial published by the Modern Print Society of Guangzhou from December 1934 to May 1936. The member of the society was Li Hua, the drawing instructor of Guangzhou Municipal School of Fine Art and his fellow. By the time the artists of Shanghai, the epicenter of Chinese Wood Cut Movement were oppressed by the Anti communist policy of Nationalist Party of Chiang Kai-shek’s. From the 1931 onward Chen Jitang of the anti Chiang Kai-shek faction, took control Guangdong Province, this accounted for the political atmosphere that had allowed the Modern Prints Society to exist and flourished Guangzhou for the time being. The wood cut prints of Li Hu before the first contact with Lu Xun in December 1934, showed the modernism style of Cubism and Fauvism. In the letters to Li Hua, Lu Xun emphasized importance of returning to Chinese traditions for inspiration. He advised Li Hua to combine European styles with the line of Han Dynasty reliefs, materials of Ming and Qing book illustration, and New Years pictures appreciated by the common people. The effort to combine the German Expressionist wood cut and folk traditions – New Years Pictures from Foshan, Buddhist engravings and amulets- was successfully demonstrated in Li Hua's <Roar, China!>. As the aftermath of student movement in Beijing on December 9. 1935 to protest the ‘anti communist self governance’ in Northern China, spread to Gwangju, Modern Prints published an ‘Anti-Imperialist Issue’ in its 17th volume, directly embodying the scenes of suppression of protests and the suffering of the students. During the Sino-Japanese War, Li Hua was active as a representative wood cut printer of the Nationalist Party.