如果我们假设具象对抽象的超越的话,那么有一个前提,就是必须以形势创造作为形象创造的出发点,也既是说,只有经过了现代艺术的洗礼,现实的题材才可能向形式创造生成。就张敏杰的艺术历程而言,他并没有经历一个具体的现代主义阶段,但他在整体上感悟了现代艺术的规范,于是从现实的题材中开掘形式的张力。张敏杰的版画在种类上主要是石版与木刻,但在形态上没有很大的区别,也就是说,他关注的不是版画语言的特征,而是怎样在较小的版画空间上表现更丰富的精神与 If we assume that the concrete surpassing the abstract, then there is a premise that we must use the situation to create the starting point for the creation of the image. That is to say, only through the baptism of modern art can the realistic theme be created. As for Zhang Minjie’s art history, he did not go through a concrete stage of modernism. However, as a whole, he had comprehended the norm of modern art and thus drew the tension of form from the realistic theme. Zhang Minjie’s prints are mainly lithographs and woodcuts in the category, but there is not much difference in morphology. In other words, he is not concerned with the features of the print language but how to express a richer spirit in the smaller print space versus