版画在目前的中国是一个很寂寞的领域,它既不象水墨画那样作为中国传统文化的标志,也不象油画那样有着强烈的视觉效果和复杂的手工技能。尤其是在当代的中国美术界,经历80年代西方现代艺术的冲击和90年代的商品经济的大潮,那种浮躁的文化功利主义泛起之后,非但没有消退,反而愈演愈烈之势。版画的寂寞似乎也在所难免了。郭有明80年代中期从中央美术学院油画系毕业之后便去日本留学,主修版画,八载之后回归故里,于寂寞之中开始了真正孤独的艺术之旅。 但是孤独对郭有明来说并不是困境,而是一种境界,是为他追求一种纯美的形式所准备的条件。在后现代主义的语境下,现代主义对纯艺术的追求似乎变得十分遥远了,但正是这种状况促使 Printmaking is a very lonely area in present China. It is neither a symbol of Chinese traditional culture, nor a strong visual effect and complicated manual skills like oil painting. Especially in the contemporary Chinese art circle, after experiencing the impact of Western modern art in the 1980s and the tide of the commodity economy in the 1990s, the impetuous cultural utilitarianism has not only failed to dissipate, but has intensified. Print loneliness seems inevitable. After graduating from the Department of Oil Painting at the Central Academy of Fine Arts in the mid-1980s, Guo Youming went to Japan to study in China and majoring in printmaking. After returning to his hometown for eight years, Guo Youming started a truly solitary artistic journey through loneliness. But loneliness is not a predicament for Guo Youming, but a realm, the condition for his pursuit of a pure form. In the context of postmodernism, the quest for pure art by modernism seems to have come a long way, but it is precisely this situation that has prompted