创作版画自20世纪初传入我国,迄今已近百年,不仅形成了规模可观的创作队伍,而且大家辈出,作品繁盛,在国际上有“版画大国”之誉。然而严格意义上的版画学术研究则起步较晚,且基础薄弱,史论人才匮乏,这在一定程度上制约了版画的发展。改革开放以后,我国版画进入转型期,版画研究亦开启了一个新的阶段,有的学者把研究视角转向版画,不同年段的版画家在观念碰撞中也更重理论思考。此时期不仅版画作品集、论文 It has been nearly a hundred years since it was introduced into China from the early 20th century. Not only has it formed a large-scale creative team, but also everyone has come forward and the works flourished. In the international arena, there is a reputation of “a great nation for printing.” However, the scholarly research of printmaking in the strict sense started relatively late, and the foundation was weak. The lack of talented people in the history has restricted the development of printmaking to a certain extent. After the reform and opening up, China’s engraving has entered a period of transition. Printmaking research has also opened a new phase. Some scholars have shifted their research perspective to printmaking. In different stages, printmakers also pay more attention to theoretical considerations in conceptual collision. This period not only print works, papers