Sino-Soviet Woodblock “Exchange Gifts” Exhibition And Discussion On Form During The Anti-Japanese War

Since the full-scale outbreak of the Anti-Japanese War,the preservation of national salvation has become the primary task of the whole country in China.The art movement for national salvation and anti-Japanese war,mainly based on woodcut prints and comics,has risen.In addition,oil painting and Chinese painting and other art are inconvenient to carry out during the war,and the preparation of materials has also become a major problem.,so woodcut prints and cartoons became the mainstream of Chinese wartime art at that time,and our friendly neighbors were also going through World War II.From letters to exhibitions,most of the activities were conducted by artists from the Kuomintang-ruled areas(mainly Chongqing)to communicate with Soviet artists.The selected woodcut prints were also handed over by the Sino-Soviet Cultural Association,which moved to Chongqing in 1938.The specific exhibitions The letters were also recorded in detail in Sino-Soviet Culture,the official journal of the Sino-Soviet Cultural Association.The exchanges in the field of fine arts were in full swing,which once became a major event in the social and cultural life of the two peoples during the war.This article will discuss the situation of “mutual gifts” in Sino-Suzhou woodcut exchanges and the formal problems arising from the exchanges between the Chinese and Soviet woodcut art circles behind the "mutual gifts",and answer the special Sino-Soviet art exchanges during the Anti-Japanese War from four parts.The influence of history on the development of woodcut circles in the two countries.The first part will give a detailed overview of the exchange of Chinese and Soviet art during the Anti-Japanese War,from the exchange of Chinese and Soviet art before the Anti-Japanese War,to the shock of the first Soviet printmaking exhibition in 1936 to young Chinese woodcutters,from the appearance of The five exhibitions of “Mutual Gifts”,to the exchange of letters along with the “Mutual Gifts” exhibition,completely restored the prosperous exchanges of woodcuts between China and the Soviet Union during the Anti-Japanese War and the true attitudes of China and the Soviet Union.The second part describes in detail the collection and transportation mechanism of these“mutual gift” exhibitions,as well as the assistance of the Chinese core institutions responsible for these exhibitions.The third and fourth parts focus on the discussion of form issues between Chinese and Soviet woodcut printmakers in the exchange of letters in the “Mutual Gifts” exhibition.The third part is through the Soviet printmaker Suvorov on behalf of the Soviet woodcut community The suggestion in the letter from the Chinese side that more “national forms” should be added to Chinese woodcut prints has triggered re-discussions on the issue of "national forms" in the domestic woodcut circle,and accelerated the process of nationalization of China’s emerging woodcuts.The fourth part will pay attention to the discussion on the color woodcut in the Chinese and Soviet woodcut circles behind these “mutual gifts”.Through the above analysis,this paper believes that although the art phenomenon of “mutual gift” of woodcut prints between China and Soviet Union during the Anti-Japanese War is only a trivial branch in the history of Sino-Soviet art exchanges,behind the “mutual gift” is the relationship between the Chinese and Soviet woodcut art circles about form The big discussion of the problem,this kind of discussion has a far-reaching impact on the Chinese woodcut industry,accelerated the nationalization process of China’s emerging woodcut prints,and the growth of the level of color-coded woodcut techniques.The exhibition has had a profound impact.