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晚明尤其是万历后期的出版物中,出现大量题款“临仿”前代或当时绘画的版画。这种力图在版画中建立与绘画传统之间的联系的现象,既与当时版画画谱之流行相关,亦折射出当时出版家的出版理念。“临仿”历代画家的传统在书籍插图中的兴盛,一方面体现明末书籍插图与画谱之间在观念上、方法上、风格上的密切联系;另一方面也说明在明代新的“仿”的观念下,以版画的语言复制历代绘画具有更大的空间。
In late Ming, especially in the late Wanli publications, there appeared a large number of inscriptions, “imitation” or previous prints. This attempt to establish a link between printmaking and the tradition of painting was not only related to the popularity of the prints at the time but also reflected the publisher’s publishing philosophy at the time. On the one hand, the prosperity of the “imitation ” painter’s tradition in the book illustrations reflected the close connection between concept, method and style of book illustrations and picture books in the late Ming dynasty; on the other hand, “Imitation ” concept, to print the language of ancient painting has more space.