중일 판화운동의 상호영향에 관한 고찰 -루쉰(魯迅)의 목각(木刻)운동과 전후 일본의 민중판화운동을 중심으로-

Abstract

This article seeks to describe the process how Japan’s Creative Print (Sosaku Hanga) Movement, after being introduced in China, developed into the Chinese Muku Movement that was merged with the traditional Chinese prints; it also clarifies how postwar Japanese wood-block printing movement was in turn influenced by the Chinese Muke Movement. Japanese traditional wood-block prints have been made through three divisions of labor of drawing the image, carving the wood, and making the prints. However, Japanese Creative Print Movement which was influenced by West European prints, proposed a new method of having the artist handle all three tasks by himself. During the 1920s and 1930s, Creative Print Movement combined with the Proletariat Art Movement and developed into People”s Print Movement. In the meantime, Lu Xun, who noted the potential of wood-block prints in people”s movement in China, took the lead in introducing techniques of Creative Prints and European prints and proposed Muke Prints that merged with traditional Chinese prints. This became the Chinese Muke Movement that portrayed the reality of the people and soon spread throughout China along with the rise of the resistance against Japanese aggression. After World War II, Japanese artists began searching for new postwar art. Those seeking to create art for postwar democracy claimed “making art for the masses.” In such an atmosphere, wood-block print artists concentrating into Chinese Muke Movement developed People Print Movement combining labor and amateur circle movement. At the same time, these artists actively introduced Chinese Muke Movement to Japan, organized traveling exhibitions, and deepened exchanges with Chinese artists. However, Japanese print artists did not fully realize that the Chinese Muke Movement had grown out of the fierce resistance against Japanese aggression. Before long, however, the wood-block print movement in Japan gradually lost its driving force and entered a phase of decline after the 1950s due to changes within Japan. On the other hand, Chinese Muke Movement exerted great influence over Resistant Artist Movement in various parts of Asia. This contrast between decline and expansion - between the Japanese and Chinese wood-block print movement that once influenced each other - can be attributed to the difference in awareness of the social function of art.