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在二十世纪的末尾之际，支持现代化的声音越来越多。政治上，尽管辛亥革命推翻了清朝君主专政体制，依然没有建立起真正的民主制度。人们依然没有发言权，缺乏自由，生活水平得不到提高。在外，中国长期受到来自日本帝国主义的威胁，在内，中国政治状况十分不稳定，军阀混战割据。作为自我救赎的一种尝试，中国的知识分子和艺术家们开始了新文化运动和其他一系列艺术改革。鲁迅发起了中国新兴木刻运动，，试图将西方艺术形式作为模范和灵感，去拯救这个文化变质的国家，振兴弱化的传统，向广大群众传递现代化信息。本文将关注中国的木刻版画，胡一川的“到前方去！”，作为中国新兴木刻运动的一部分，正是典型例子，展现了20世纪30年代西方印刷技术和风格对中国木刻艺术的影响，以及这种艺术的产出和用途是如何被改革和宣传的。

在动荡的年代里，鲁迅和他的同仁们看到了木刻版画成为启蒙运动工具的潜力。木刻版画天然就是低成本的艺术，因为其所需的工具：小刀，纸，墨，木片，都是到处可以得到的材料。更多的是，它不需要任何机器或者是机械过程，那些机械只是在大城市方便易得，并且也只适合隐藏在官僚权威背后的革命分子进行操作。

At the turn of the twentieth century, voices supporting modernization were on the rise. Politically, although the Xinhai Revolution replaced the Qing monarchy, there was still no real democratic rule established. People still didn’t have a voice and they were by no means free or having an improvement in life. Externally, China was under constant threat and aggressiveness of Japanese imperialism and internally, China’s political condition is extremely unstable as it’s under absolute rule by ruthless warlords who fight with each other all the time [1] . As an attempt of self-salvation, Chinese intellectuals and artists started the New Cultural Movement and various art reforms. Lu Xun started the New Chinese Woodcut Movement and looked into western art forms as models and inspirations as an attempt to save their culturally-deteriorated country, revive their weakened tradition [2] and send modernization messages to the masses. This essay will focus on the woodcut print, “To The Front!”by Hu Yichuan, which is a part of the New Chinese Woodcut Movement and is a good example to illustrate the impact of the import of western prints technique and styles on Chinese woodcuts during the 1930 and how the production and purpose of art had been revolutionalized and publicized.

At the time of chaos, Lu Xun and his colleagues saw the potentials of woodblock printing became a tool of enlightenment. Woodblock printing is by natural a low-cost art with high availability as the tools: knife, paper, ink and a piece of wood are materials that could be found almost anywhere. Moreover, it did not require machines or any mechanical processes that were only available in large cities and were most suitable for revolutionaries hiding from the authorities. Also of great importance, its ability to reproduce millions of copies was exactly what was needed for spreading quick and powerful revolutionary and modernization messages to the public, including those who were illiterate. The “New”, “Creative” Chinese Woodcut Movement got its name by its differentiation from the duplicating woodblock of traditional production [3] by adopting western techniques and styles in woodblock printing.

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