Woodcuts, as an art form during the Yan’an period, served as an advancement of the revolution. During that time, the dissemination of Yan’an Woodcuts in the ShaanGanNing Border Region experienced a unique localization process, during which it realized the transformation from urban artworks to a medium that mobilized collective actions. Consequently, during the Yan’an period, this transformation reflected the Chinese people’s demand to save their country and their vision to build a “New China”. Yan’an Woodcuts absorbed not only the advanced techniques from Europe but also the essence of traditional Chinese culture and the characteristics of Yan’an folk art, leading Yan’an Woodcuts to be broadly accepted by the Chinese people. During the dissemination process, Yan’an Woodcuts integrated the regional attributes of Northern Shaanxi and the new societal features of the ShaanGanNing Border Region, implanting the Party’s ideas of revolution in people’s minds. The localization process of Yan’an Woodcuts demonstrated the core factors of the spirit of China as a nation, such as the revolutionary mentality of the Chinese people, the innovative mindset, and patriotism. This process inspired the antiJapanese activities and the enthusiasm for production and construction in the ShaanGanNing Border Region and contributed patriotism and wisdom to the Party’s social mobilization.

Yan’an period; woodcut; localization; Chinese spirit