在一个视觉文化的时代,图像对于观者的意义不言而喻。今天,由漫画、图书、电视和网络等大众文化影像充斥着人们的视线,所以最近视觉文化研究的兴起最直观的原因,也是因为视觉现象在当代文化中的突显。版画这门艺术种类在当代视觉转型中不可避免会受到图像泛滥的冲击,这次转型也影响并制约了艺术家的创作思维,所以许多版画艺术家纷纷转行做画家或者和装置艺术跨界;然而与此同时,观澜版画基地等版画产业机构的兴起又似乎成为版画艺术繁荣发展的象征。那么,我们又该如何解读这种版画界“内热外冷”的现象?郑振铎在谈到版画艺术时有言:“梨枣图画,为推动文化,功高不可胜言。”其实早在明代中叶,随着城市经济的发 In a visual culture era, the meaning of the image to the viewer is self-evident. Today, the mass culture images such as cartoons, books, television and internet are filled with people’s eyes. Therefore, the most intuitive reason for the rise of visual culture research recently is also the highlight of visual phenomena in contemporary culture. Printmaking, an art genre inevitably affected by the proliferation of images in the contemporary visual transition, also influenced and restricted the artist’s creative thinking. Therefore, many print artists have switched to painter or installation art, but with this At the same time, the rise of printmaking institutions such as the Guanlan Printmaking Base seems to have become a symbol of the prosperous development of printmaking art. So, how should we interpret the phenomenon of this kind of engraving industry? “Inside and outside the cold?” Zheng Zhenduo talked about the art of print when he said: “Lizao drawings, to promote culture, power is undeniable.” In fact As early as the mid-Ming Dynasty, with the economic development of the city