木刻版画自十世纪以来盛行于宋、辽、金、西夏、元及日、韩等地,现存作品尤以考古发现及散落各地收藏的佛教版画为数最为惊人,也最值得艺术史学界进一步关注。从“宋画研究”的角度来看,这批佛教版画的质材与主题虽然与存世的宋代主流绘画不尽相同,但其中许多标准化、格套化的母题、构图乃至风格!在在显示其与宋画的密切关系,并揭示了绘画是新兴版画最主要的图像数据库,有助我们管窥已失落的宋画面向。本文更积极的目的,在以“版画与绘画 Woodblock prints have prevailed in the Song, Liao, Jin, Xixia, Yuan, Japan, South Korea and other places since the 10th century. The most striking is the number of extant works, especially the Buddhist prints collected and scattered throughout the archaeological site. It is also worthy of further attention by art history scholars. From the perspective of ”Study of Song Painting “, although the quality and theme of these Buddhist prints are different from those of the mainstream Song dynasty paintings, many of them are standardized, patterned motifs, compositions and even styles! Showing its close relationship with the Song dynasty and revealing that the painting is the most important image database of the emerging printmaking helps us to have a glimpse of the lost orientation of the Song dynasty paintings. This article is a more positive purpose, in ”print and painting