在创作版画兴起于我国的半个多世纪,所沿用的艺术语系基本上是民族的、在传统基础上生发的,尽管在初期也接受过德国表现主义与苏联版画等影响,但其后不同历史时期的几经转换,在语式、语境上实行民族化,并回归传统。而且在建国前民族救亡的历史需求下,文化变革也充满了功利性,不可能不影响到版画艺术的本体建设,建国后版画开始从战斗型向审美型转化,但又因受到极左思潮的干扰,而时常处于尴尬的境地。所以真正具有视觉革命意义、着力于版画自身建设的,当属近十年。 In the more than half a century since the creation of lithographs in our country, the artistic languages ​​used are basically nationalities. The traditions that flourished on the basis of tradition were influenced by German Expressionism and the Soviet Union in the early stages, but the later history After several times of conversion, in the language, context, nationalization, and return to tradition. Moreover, under the historical needs of national salvation before the founding of the People’s Republic of China, cultural change was also full of utilitarianism. It is impossible not to affect the ontology construction of printmaking art. After the founding of China, the printmaking began to be transformed from a combat-oriented to an aesthetic. However, Interference, but often in an awkward position. Therefore, the real sense of the visual revolution, focused on the construction of the print itself, was the last decade.