| Left-wing art is part of the left-wing culture in the 1920 s and 1930 s.China's left-wing culture movement rise with the spread of communism.In 1930,some left-wing artists began to organize the left-wing art movement in China.The art movement by their leading was not the same system as the woodcut movement that had become the mainstream of the left-wing art in 1930 s,and their understanding of the left-wing art had a lot to do with the proletarian art movement which they had come into contact in Japan.Except promoted the theory of left-wing art by articles,they also hoped to follow the foreign model to establish a unified left-wing art organization in China,in the form of uniting all parties to achieve conception in their art movement.And their actions to achieve conception,that is,the early practice of how to unite art and the left-wing culture movement,and even how to unite art and political parties.The paper takes 1930 Shanghai as the scope of discussion,sorting through the relevant literature and memories,analyzes the notion and specific activities of the main advocates of Left-wing art movement during this period.From the Society of the Era to the League of Left-wing Artists,Xu Xingzhi was a key figure who had to go through the whole process.He has the dual identity as a modern artist and a leftist.The thesis focuses on Xu Xingzhi 's articles,with the works,analyzes the permutation between different identities in his theory.On personnel relations,through the interaction between Lu Xun and the Society of the Era,to explore the role of Lu Xun for the left-wing art movement and the internal cause of the interaction between the Society of the Era and Lu Xun.With the memories and the other left-wing culture organizations that were associated with the Chinese Communist Party at that time,analyzes the League of Left-wing Artists 's organizational structure and the resulting disintegration of the organization,discusses the relationship between the artist and the unified organization. |
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