重塑当代版画的精神内核

The Revitalization of China's Block Print

中国版画有着上千年的历史,但20世纪30年代以前的版画仍然是复制版画。自1931年起,由鲁迅倡导的新兴木刻才开始了我国有创作版画的史页,历经半个多世纪,曾出现过几次高潮时期,产生了一大批优秀的版画家和在国内外有影响有重要价值的版画作品,发展健全了各个版种。中国版画艺术取得了辉煌的成就,但我们也应该看到,当下进入转型时期的中国版画面临一定的困境,一些作品刻意追求版画的形式语言,片面追求作品的印痕美感等本体语言,使作品只停留在技术层面,疏离了版画作品本身的内在精神,缺少深刻的内涵和思想,缺少生命力。"形而上者谓之道,形而下者谓之器"。版画要走出低谷寻求新的发展,由"技"进乎"道"是当务之急。

The Chinese block print enjoys a history of thousands of years, but before the thirties of the last century it had all been duplicate. It was not until 1931 when Lu Xun introduced the new woodcut that the real history of Chinese block print began. During the following years that lasted half a century, periods of prosperity emerged, during which appeared many excellent printers and printings known home and abroad. Despite the established glory, Chinese block printing is confronted with some difficulties ： some works overstress formal language or noumenon, llke the traces of the print, alienate the intrinsic spirit, thus stay on the skill phase, being deprived of essence and animation. ＂Dao （or, Way） is metaphysical, while material is otherwise. ＂ To get out of the depression, it is pressing for Chinese block print to return from ＂technical＂ to ＂Dao＂.