没有比木刻版画更能揭示所谓中国“现代性”的东西了。我们这里说的木刻版画,并不是十竹斋、芥子园和《北平笺谱》;也不是《西厢记》、桃花坞和杨柳青—这里讨论的木刻版画只局限于生长在现代欧洲艺术的基础之上,又重新被“中国”所塑形的作品。从这个角度来看,虽然萌发于20世纪20年代,到现在也有接近100年的历史,中国的现代木刻版画依旧可以截然分成两个部分,“鲁迅的版画”和“宣传的海报”而已。1929年鲁迅与柔石等人合作推出《近代木刻选集》的心态颇可琢磨。按照他本人的话来说“当革命时,版画 There is no better way to reveal the so-called ”modernity“ of China than woodcut prints. The woodblock prints we are talking about here are not Shizhuzhai, Mustard Seed, and Peking Dictionary. Nor is the West Chamber, Taohuawu, and Yangliuqing. The woodblock prints discussed here are confined to the foundation of modern European art , Again being ”China “ shaped by the work. From this point of view, although it was sprung up in the 1920s and now has nearly 100 years of history, China’s modern woodcut prints can still be completely divided into two parts: ”The poster of Lu Xun’s print“ and ” “Only. In 1929, Lu Xun and Rou Shi and others co-launched the ”Modern Woodcut Selection“ mentality quite pondering. According to his own words ”When the revolution, printmaking