On The Evolution Of Epoch Themes Of Modern Printmaking Art In Northeast China:The Perspective Of Mass Aesthetics(1946-1999)

Since the middle of the 20 th century,the modern printmaking movement in Northeast China under the leadership of the red regime has vividly recorded and reproduced the history of the liberation struggle that occurred in this area,the history of the birth of New China,the history of Reform and Opening up,and the history of the development of socialist countries,showing that it has kept pace with the times,the themes of the times changed,and the aesthetic implication of the masses was distinct.Based on the previous case studies on Northeast printmaking in academic circles,this paper strives to take the artistic theme flow as the breakthrough point and examines the style of the times displayed by Northeast modern printmaking in each era of revolution,nation-building and socialist construction,then outline the clues and trajectories of the generation and expression of the mass aesthetic theme of modern prints in Northeast China.The thesis is divided into four chapters.The first chapter focuses on "the bottom-level feelings of red prints in Northeast China during the Revolutionary War".After the War of Resistance Against Japanese Aggression,the red print artists in the Northeast Liberated Area inherited the revolutionary literary and artistic spirit of the Yan-an period,and under the direct promotion of the local practice of "Northeast Luxun’s Art Spirit",they condensed the bright red theme of "turning over and liberating" the people at the bottom of the Northeast.It surpassed the spontaneous creation state of "folk literature and art" of woodcut woodcuts in Northeast China and started the journey of thematic expression of aesthetics in modern printmaking in Northeast China.The second chapter reviews the "mass literary and artistic production movement of prints in the Great Northern Wilderness of New China".After the founding of New China,under the call of the era of "entering the Great Northern Wilderness",the group of printmakers in Heilongjiang left their "first footprints" on the "wilderness" of revolutionary literature and art in the Northeast,and used prints to frame wasteland reclamation,rush sowing,autumn harvest,logging and other "critical moments" for the productive labor of the Northeast masses.After1972,the "educated youth prints" followed up to present the aesthetic image of the new generation of northern Xinjiang people,reflecting the theme of the second stage of the "literary and artistic reclamation" of northeastern prints.The third chapter examines the "modern aesthetic schema of the prints of the new life in Northeast China in the reform era".After 1978,the Northeast has entered a new stage of modernization.The Northeast industrial prints represented by Daqing oil prints,which express the changes of modern industrial production and urban life,have become a new trend.At the same time,the exploration of the artistic language of prints shows more independent style and more diverse forms,the "text" and "quality" of prints have made new breakthroughs,and "poetic" presents a modern aesthetic schema that highlights the life and social outlook of the masses in the reform and opening up of the new Northeast.The fourth chapter demonstrates "the generation and expression mechanism of the theme of socialist Northeast literature and art".Looking at the history of literary and artistic production since the Communist Party of China started the establishment of the red regime in Northeast China in 1945,it can be found that although the themes of prints in various periods have kept pace with the times,the generation and expression mechanisms of their themes were consistent.Under the leadership of the red regime,it showed the implement the people-centered cultural policy from top to bottom,relying on the masses,portraying the masses,enlightening the masses,and serving the consolidation of the red regime and socialist construction with the "knife and wood" of revolutionary literature and art.The main conclusion of this paper is that the artistic theme of modern printmaking in Northeast China has a distinct "epoch character",which expressed the values of "mass aesthetics",and accumulated a specific "modernity" connotation in practice.Northeast modern prints with red genes kept pace with the times in the historical context of Northeast revolution and construction,showing the theme of the times required by the red regime.The artistic practice of modern printmaking in Northeast China run through the subjective will of the "mass" from beginning to end and plays the role of leading the formation of the aesthetic mechanism of the community under the background of a specific era and social environment.The "mass aesthetics" promoted and practiced by modern printmaking in Northeast China was an integral part of political power construction.The fundamental orientation of "for whom" was implemented in the country’s literary and artistic life and spiritual production and was implemented in the folk and grassroots through the means of political construction.The "modernity" of modern printmaking in Northeast China was a new invention of new democratic revolutionary aesthetics and socialist aesthetic tradition which was oriented by the people,of the people and for the people in New China.