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石印出版物通常很少有人注意,更不要説被人所看重:因爲艱深的專業背景令很多人知其然而不知其所以然,因爲年代距今並不久遠而讓人少了時間敬畏感,也因爲後期一些石印出版物的粗製濫造而使人們敗了胃口。其實,要解讀晚清乃至整個近代中國,石印術都是一個繞不開的關鍵點。晚清三十年(1880—1910),中國傳統的木版雕印已漸趨没落,頽勢盡顯,從西方引進的鉛活字印刷則處於不斷革新、追求完善的求變階段,而石印術堪稱在此過渡期間燁燁生輝的一抹亮色,從書籍到期刊再到報紙,維新變法、
Oftentimes, litho publications are rarely noticed, not to mention being valued: because of the hard-working professional backgrounds that many people know but do not know why, because age is not so long and people are less awake at this time, The rudeness of some litho publications ruined people’s appetite. In fact, to interpret the late Qing Dynasty and the whole of modern China, lithography is a key point that can not be separated. In the late Qing dynasty (1880-1910), the traditional Chinese wood engraving had been gradually declining, showing a declining trend. The lead type printing introduced from the West was in continuous reform and the pursuit of a perfect stage of change. In the transition period, Ye said that a touch of bright color, from books to periodicals and newspapers, to reform,