今年,中国版画界似乎格外热闹,由中国美协主办的“第三届观澜国际版画双年展”、“第十九届全国版画展”先后登场。但一石入水却波澜不现,展览所产生的社会影响力只能说差强人意。中国版画发展到今天,面临着诸多不能不重新抉择的问题,而解决这些发展中遇到的问题,急需实践与理论两方面的共同努力。但目前关于版画的讨论多囿干圈内,局限在本体语言等表象问题上,很长时间以来都没有真正引起整个社会、文化界,哪怕只是艺术界的关注,版画在不知不觉 This year, the printmaking industry in China seems particularly lively. The third edition of “Guanlan International Printmaking Biennial” and the “19th National Printmaking Exhibition” hosted by the China Artists Association have appeared one after the other. However, a stone into the water is not stable, the social impact of the exhibition can only say unsatisfactory. Today, the development of Chinese print faces many problems that can not be re-chosen. To solve the problems encountered in these developments, the joint efforts of both practice and theory are urgently needed. However, at present, the discussion on printmaking is not limited to the appearance of ontology language in the field of dry printing. For a long time, it has not really aroused the concern of the entire society and cultural circles, even the artistic circles.