过去版画与国画,油画并驾齐驱,如今却因为种种原因变得格外冷清。近三十年来,在画展中唯有绝版套色木刻作品出现过较高水平的作品。云南绝版木刻是在传统套色木刻的基础上发展演变而来,它具有更复杂色彩、更丰富的肌理效果、更加简练的创作手法。丰富多样的表现形式使得绝版木刻能更好的表现云南特有的地理环境和农村生活。但在一度时期,云南版画家总以民族作为创作题材,在几年甚至几十年的创作中,我们都未窥见其有所改变。取而代之的是样式化重复。近十年里,大多数的版画创作手法和创意并无显著变化。创作的自我重复成为云南绝版木刻艺术创作的特征。如今,各地版画创作应当继续追求本土化,将人类自身情感置于独特的表达形式中。唯有坚持创新,才能使版画作品更好地融入不同民族、地域、文化,在公平的、包容的社会中让版画作品走向成熟。本文选取云南绝版木刻,意在有点到面,推动版画艺术的发展。 In the past, printmaking and Chinese painting and oil painting went hand in hand, but now it has become more and more deserted for various reasons. In the past three decades, only the only works in the art exhibition of color-matched woodcuts have appeared at higher levels. The out-of-print woodcut in Yunnan is evolved from the traditional chromatic woodcuts. It has more complex colors, richer texture effects and more concise creative techniques. The rich and varied forms of expression make the out-of-print woodcut better reflect Yunnan’s unique geographical environment and rural life. However, in a period of time, the Yunnan print artists always took the nationality as their theme of creation. In the works of several years or even decades, we did not get a glimpse of the changes. Instead, stylized repetitions. In the past ten years, most of the printmaking techniques and ideas have not changed significantly. The self-repetition of creation has become the feature of Yunnan’s out-of-print woodcut art creation. Nowadays, the creation of printmaking should continue its pursuit of localization and place human emotions into unique forms of expression. Only by adhering to innovation can we make printmaking work better integrated into different nationalities, regions and cultures and make printmaking mature in a fair and inclusive society. In this paper, Yunnan out of print woodcut, intended to be a bit face to promote the development of print art.