云南绝版木刻是在传统套色木刻的基础上发展演变而来,它套版精确、色彩、肌理效果丰富,创作更加简练、自由,表现形式丰富多样,艺术表现力强烈.近三十年来,绝版套色木刻在全国众多画家的研究与探索中,出现从数量到质量都具相当规模和高水平的作品,为版画艺术的发展起到推波助澜的作用。但在一定时期,尤其是在最近十年中,云南版画的技巧和创作观念没有较大的改变,重复自己,模仿别人,没有取得实质性的突破。对艺术个性和原创性的追求,是版商艺术的创造性最重要的是艺术语言,云南版画创作要在新形势下取得突破,必须关注中华民族的文化血脉和价值观,是画家触摸当代杜会神经的必由之路,是使自己的艺术感觉与当代脉搏相契合的媒介,是版画艺术的生命线。 The out-of-print woodcut in Yunnan is based on the traditional chromatic woodcut, which is characterized by its accurate set of colors, rich texture effects, more conciseness and freedom of creation, rich and varied forms of expression, and strong artistic expression. In the research and exploration of many painters all over the country, woodcut works have appeared on a large scale and in high quality from quantity to quality, playing a role in fueling the development of printmaking art. However, during a certain period of time, especially in the last ten years, there has been no major change in the techniques and creative ideas of Yunnan prints. Repeating themselves and imitating others did not make substantive breakthroughs. The pursuit of artistic individuality and originality is the most important artistic language of the creative business of the publisher. The breakthrough of the Yunnan printmaking under the new situation requires paying close attention to the cultural vein and values ​​of the Chinese nation. The only way is to make their own sense of art and contemporary pulse fit the media is the lifeline of printmaking art.