戰後初期，台灣的魯迅主要傳播者，中國大陸出身者有許壽裳與木刻版畫家黃榮燦，二人對魯迅傳播的貢獻為當地台灣藝文界所相提並論。關於許壽裳當時的角色與企圖，筆者已在別的文章裏詳細論述過，本文則旨在探討黃榮燦的角色，釐清其在台傳播魯迅木刻思想的始末，俾理解魯迅在台灣的另一個面向。在探討過程中，發現了黃榮燦意圖藉著宣揚魯迅「反帝」、「反封建」、「反侵略」、「爭民主」的木刻思想，追求中國的「戰後民主主義」能率先在台灣實現。 　　截至八○年代為止，關於黃榮燦的資料訊息，僅是片斷所知有限，直到最近其傳記研究才有突破性的發展。受限於資料及筆者對木刻版畫的專業知識不夠，本文還留下一些尚未解決的問題，到底魯迅的木刻思想對台灣木刻版畫界的影響如何？魯迅留下的文學與美術（木刻）如何共演?這些問題不只是黃榮燦，也是魯迅留給我們的課題。

　　In the early period of the the post-war era, the most important figures in introducing Lu Hsun to Taiwan are Hsu Shou-shang and wood engraver Huang Jung-ts'un. I have analyzed Hsu's roles and intentions in an earlier paper, and will discuss Huang's with this one. My purpose is to explore Huang Jung-ts'an's role in transmitting Lu Hsun's thoughts in his woodcuts, so as to understand another aspect of Lu Hsun's influence in Taiwan. In this paper I shall argue that, by broadcasting Lu's ideas of 'antiimperialism', 'anti-feudalism', 'anti-aggressions', and 'fighting for democracy' reflected in his woodcuts,Huang pursued to incarnate the ideal of the 'post-war democracy' in China to first take place in Taiwan. 　　Up to the 1990s, the information about Huang Jung-ts'an was fragile and limited. The scarcity of the sources had remained as a problem until the breakthrough of the studies of his biography recently. Straitened by the sources and my lack of knowledge about woodcuts, this paper leaves some questions unsolved: Did Lu's ideas about wooden prints have ever thrown light on the wood engravers in Taiwan? Furthermore, how are the ideas of id Lu's literature related to those in his woodcuts? I wish this paper would call scholar's attention to these questions, which were left by Huang as well as by Lu, for further studies.