近年,随着西方现代文艺思潮的涌入,在我国艺术界出现一种否定历史传统,淡化现实生活的倾向。于是,曾作为革命美术代表的新兴版画渐受冷落,作品锐减,展览活动不多,版画研究亦遭冷漠,似乎探讨新兴版画,便有“守旧、落后”之嫌。然而,就在此时,齐凤阁教授却推出了他的《中国新兴版画发展史》(吉林美术出版社1994年版),这在一度沉寂的版画界引起不小的震动,版画界领导及画家们写信祝贺,认为“这是全面论述我国新兴版画60年光辉历程的第一部著作”,“有别以往一切版画史料集而立下中国版画史学上第一座丰碑”, In recent years, with the influx of western modern ideological trends in literature and art, there appears a tendency in the art world in our country to negate the historical tradition and dilute the real life. As a result, emerging lithographs, once represented by revolutionary art, have been slipping out of cool, their works have been drastically reduced, their exhibition activities have been limited, their printmaking research has also been indifferent, and they seem to be suspected of being “conservative and backward” as if exploring emerging prints. However, at this time, Professor Qi Fengge introduced his “History of the Emerging Chinese Printmaking” (Jilin Fine Arts Publishing House, 1994 edition), which caused no small shock in the once quiet engraving industry. The leaders and painters of the print industry wrote The letter congratulates that “this is the first book that comprehensively expounds the glorious history of the new prints in our country for 60 years” and “the first monument in history of Chinese prints”