In order to understand Lu Xun's formulation, I read Lu Xun's Letters. From the letter 1933- 1934 commenting on woodcut creation and publishing collections to woodcut authors and others, I have talked about many similar expositions and simply quoted several paragraphs for comparison.

To He (193365438+February19)

"I thought that China's new woodcuts can adopt foreign composition and engraving methods, but we should also refer to the composition of old woodcuts in China, so that people can show the characteristics of China, and let viewers know at a glance that this is a matter of China and a matter of China native. Now, art needs local colors. " This shows that Lu Xun emphasized that art should have "China characteristics" and "local color" to avoid the similarity in different environments in the world. So much for modern international architecture.

1934 From February to June, Lu Xun wrote 10 to Chen Yanqiao about the creation, publication and development of woodcut, expounding his opinions, such as: "My opinions are mixed with still life, scenery, local customs and street scenes, which is why. So is today's literature. If there is a local color, it will easily become the world, that is, it will be noticed by other countries. Going abroad is conducive to China's activities. "

Lu Xun emphasized "China characteristics" and put "China characteristics" and "local colors" together, which can also be understood as: "Those with China colors are easy to become the world." As for the formulation that "only the nation belongs to the world", if the source cannot be found, it may be the evolution and development of Lu Xun's above formulation.

Lu Xun asked to "conquer the world" and send woodcuts to foreign exhibitions. In the letter to Chen Yanqiao on June 20, it was mentioned that our paintings (this is the export of Beijing writers) and woodcuts were successfully exhibited in Paris; ..... These works are exhibited in Moscow again, and the comments are all very good. "