中国民族美术

在长达14年的全民族抗战历程中，中国艺术家群体以独特方式践行救亡图存使命，以邹雅为代表的左翼进步艺术家投身抗日根据地开展革命美术实践，构建起具有时代特征的艺术创作范式。作为鲁迅新兴木刻运动的重要践行者，邹雅创作了大量的经典版画，这些作品将民族救亡诉求转化为具有强烈感染力的艺术语言，在动员群众、传播抗战理念方面发挥了不可替代的宣传教育功能。笔者以邹雅个案为切入点，揭示抗战时期知识分子艺术转型的内在逻辑：其一，展现艺术创作从都市现代主义向革命现实主义的转换，印证“艺术为人民服务”理念的历史实践；其二，剖析木刻版画作为战时主流媒介的技术特性与传播优势，彰显视觉艺术在民族精神建构中的特殊价值；其三，通过图像文本的符号学解读，阐释革命美术如何实现政治话语与审美表达的辩证统一。在新时代语境下，重新审视这段艺术史，不仅为红色文化传承提供了珍贵个案，更对当代艺术工作者践行社会责任、创新主旋律表达具有重要的启示意义。

During the 14-year national anti-Japanese war,Chinese artists fulfilled their mission of saving the nation from subjugation in unique ways.Left-wing progressive artists represented by Zou Ya devoted themselves to revolutionary art practices in anti-Japanese base areas,establishing an artistic creation paradigm with distinct contemporary characteristics.As a key practitioner of Lu Xun's New Woodcut Movement,Zou Ya created numerous classic woodblock prints.These works transformed the national salvation appeal into a highly appealing artistic language,playing an irreplaceable role in mobilizing the masses and spreading anti-war ideals through propaganda and education.This study uses Zou Ya's case to reveal the internal logic of intellectuals'artistic transformation during the anti-Japanese war:It demonstrates the shift in artistic creation from urban modernism to revolutionary realism,confirming the historical practice of the concept of"art serving the people."It analyzes the technical characteristics and communication advantages of woodblock prints as the mainstream wartime medium,highlighting the special value of visual art in constructing national spirit.Through semiotic interpretation of image texts,it explains how revolutionary art achieves the dialectical unity of political discourse and aesthetic expression.In the context of the new era,re-examining this period of art history not only provides a precious case for inheriting red culture but also offers important enlightenment for contemporary artists to fulfill their social responsibilities and innovate the expression of main themes.