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Abstract

The heated discussion on the issue of national forms in the literary and artistic circles of Yan'an prompted the Luyi Woodcarving Work Group to pursue the national forms of revolutionary literature and art via such practices as “Sinicization” and “nationalization” of woodcarving. In the process of integrating China with the West and reconciling the old with the new， “national form” was given the double connotation of inheriting the national culture and waging a nationwide war against Japan， which laid the foundation for exploring a constructive way for the revolutionary literary theory of Yan'an. Following the Yan'an Forum on Literature and Art， the idea that literature and art should serve politics， workers， peasants， and soldiers gradually took root in the hearts of the people. As a result， the theory of revolutionary literature and art was generated in mobilizing the Chinese people to join the war effort against Japanese aggression. After the publication of Mao Zedong's “Talks at the Yan'an Forum on Literature and Art” in 1942， the work style and ideological conceptualizations of the Yan'an literary and art circles underwent a fundamental transformation. With the development of literary and artistic practices of Chinese characteristics， which were popular among the masses， the theoretical system of revolutionary literature and art was gradually constructed. The literary and artistic practices and ideological changes of the Luyi Woodcarving Work Group before and after the Yan'an Forum on Literature and Art embodied the historical developments of the construction of the system of revolutionary theory of art and literature， as well as the basic logic in the mutual evolution of the theory and practice of revolutionary art and literature.

Keywords

the Yan an Forum on Literature and Art; Luyi Woodcarving Work Group; national forms; revolutionary literature and art

First Page

194

Last Page

203

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