近年来,关于20世纪中国美术现代性的讨论很热,其中中国画和油画的探索攫住了人们的眼球,成为各种论争和著述的焦点,而近现代版画却似乎总是处在各种论争的边缘。在笔者看来,中国近现代版画其实是在进行另一种意义上的现代性探索。鸦片战争以来,伴随着西学东渐和西方艺术在中国的传播,艺术家开始对传统中国艺术进行反思,产生了大量关于艺术的论争。这些论争实际上是艺术家自觉探讨现代与传统之间关系的体现,时下普遍被认为是中国艺术现代性的一种探索。例如,黄宾虹立足于中国传统,以复古为革新的方式寻求中国画的现代转 In recent years, the discussion on the modernity of Chinese art in the 20th century has been very hot. The exploration of Chinese painting and oil painting has grabbed people’s attention and has become the focus of various debates and writings. However, modern printmaking always seems to be in various arguments the edge of. In the author’s opinion, modern Chinese printmaking is actually exploring another sense of modernity. Since the Opium War, along with the spread of western learning and western art in China, artists began to reflect on traditional Chinese art and produced a great deal of controversy about art. These debates are actually the artist’s conscious reflection of the relationship between modernity and tradition. Nowadays, it is generally considered as an exploration of the modernity of Chinese art. For example, Huang Binhong, based on the Chinese tradition, sought to modernize the Chinese painting in a retro-innovative way