朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

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朱宣咸版画《五七干校的夜读》
1974年于重庆

Reading at Night in the May Seventh Cadre School
By Zhu Xuanxian

Woodcut, In Chongqing City,  China, 1974
NO.W-004

 
        朱宣咸木刻版画创作的第二个阶段:1950年——1979年。

        来到重庆以后创作的作品,主要反映了新中国、新社会方方面面的现实生活。风格上开始接受中国传统绘画和中国民间美术的元素,以套色版画为主。
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        五七干校:是在文化大革命期间,为了贯彻毛泽东主席1966年5月7日“五七指示”精神,将党政机关干部、科技人员和大专院校教师等下放到了农村;五七干校就是他们在农村从事农副业生产劳动、接受贫下中农再教育、批判资产阶级、进行政治学习的场所。

The second stage of Zhu Xuanxian’s woodcut works: 1950——1979.

When he was in Chongqing, which reflected the actual situations of various aspects of the new Chinese society. In the artistic style, he began to accept the elements of traditional Chinese painting and Chinese folk arts, and concentrated on chromatic woodcut.

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May Seventh Cadre School: during the Cultural Revolution of China, to implement the “May Seventh Instruction” by Chairman Mao Zedong in 1966, the cadres of the CPC and governmental organs, the technical personnel and the teachers of colleges and schools were sent to countryside. The May Seven Cadre School refers to the place where they were engaged in the rural production, received the re-education from the poor and lower-middle peasants, criticized the bourgeois and studied politics.