中国近代的创作木版画指新兴木刻运动到建国前的创作木版画。过去中国的木版画大多用于复制图画,绘、刻、印分工,也叫做复制版画,20世纪30年代鲁迅先生倡导的新兴版画运动,从根本上改变了中国版画长期所处的附属地位,版画家自画、自刻、自印,使版画逐步发展成为一种独立的艺术形式,并具有独特审美价值的现代创作版画。正如鲁迅先生所言:“中国木刻画从唐到明曾有过体面的历史,但现在的新木刻却和这历史不相干,新的木刻是受了欧洲创作木刻的影响的”。当然,这并不是说抛弃中国的版画传统,其实欧洲木刻也是在学习中国传统木刻基础上发展、变化来的。本文仅对中国近代的创作木版画的兴起、其主要艺术特点及其主要艺术价值等方面简单论述。 Chinese modern woodblock printing refers to the creation of woodcuts before the founding of New Woodcut. In the past, most of the wood engravings in China were used to duplicate the drawings, paintings, engravings, and divisions of labor, also known as replicas. The new printmaking movement advocated by Mr. Lu Xun in the 1930s fundamentally changed the position of Chinese printmaking for a long time. Painter self-painting, self-engraving, self-printing, the gradual development of the engraving into an independent form of art, and has a unique aesthetic value of modern creative prints. As Mr. Lu Xun put it: “There was a decent history of woodcuts in China from the Tang Dynasty to the Ming Dynasty, but the new woodcut now is irrelevant to this history. The new woodcut is influenced by European woodcuts.” Of course, this does not mean abandoning China’s traditional printmaking. In fact, European woodcutting is also based on the study of traditional Chinese woodcut development and change. This article only briefly discusses the rise of the creative woodcut in modern China, its main artistic features and its main artistic value.