针对一段时间以来，以工艺技巧作为评判标准的风气在版画界有流行的风头，结合自己在版画创作中遇到的一些实际问题，以创作者的角度将创作木版画的技术发展历程梳理分析为切入点，讨论版画创作中“版”与“画”的关系问题。从对版画几个技术阶段演变的分析，得出一个结论：单从木版画的技术层面而言，其发展是有限的，无休止地发展版画技术是不可取的。这就提出了技术在版画发展中起一种什么作用、如何起作用的问题。

本文重新解读了版画的间接性与复数性特点。指出从艺术实践、艺术效果和版画语言特性而言，复数性并不起决定作用；相反，间接性还有值得我们进一步开拓的认识空间。通过对间接性的进一步肯定，提升了“间接性”对版画本体的决定意义。

本文通过对新兴木刻优秀作品地回顾分析，得到这样一种启示：木刻家来自对社会、人生关注的不得不宣泄的激情是新兴木刻魅力的深层源头。是精神、感情因素使这些木刻家在“技术”问题上表现出一种特殊的主动性与驾驭力，从而超越了他们当时事实上存在的“技术”、“技法”上的不足。指出当前版画界一些人沉溺于对“版”的效果的钻研，与“画”的目的越离越远。究其根源，是因为技术上的趣味追求远比对现实生活中的深刻挖掘要来得轻松！这种有意无意的逃避在成为创作风格的同时，反映出技术性对艺术性的抑制力量，也就是“版”对“画”的抑制。

在版画技术语言与文化情境的关系上，本文认为版画是一种文化形态，一种艺术样式。它具有文化艺术应有的共性，应与历史、民族、人类大文化的深层发展及现实的社会形态形成有机的联系。

本文认为版画是绘画的一个种类，它具有绘画艺术的共性——打动人心的艺术情感和令人思考的艺术观念。在“版”与“画” 关系上，文章认为：与国画、油画一样，版画是“版”与“画”结合成一体的一种绘画样式。“版”是个性，“画”是共性，共性要落在个性上，个性要体现共性的因素。版画的落脚点不应仅放在‘版’上，而应放在“版”与“画”的结合体上。版画与国画、油画一样，都是艺术家表达思想观念、情感心态的一种手段选择，都是艺术家主体精神的形象载体，它可以为任何艺术家所选用。可以说，真正的“版画本体”也是超越了“版画”而与“绘画本体”“艺术本体”相一致的。

It has become popular among print circles in recent time to regard craft technique as a critical standard. The author of the paper who considers himself as a creator discusses the relationship between “plate” and “painting”, beginning with an analysis of technique development in combination with some of the practical problems in his creation. A conclusion can be drawn in accordance with a progressive analysis of the techniques of several stages: the development of woodcut was limited. Thus a question: what role the technique has played in the development of woodcut and how.

The paper offers a new interpretation of the indirectness and complexity of print; questions its complexity and confirms its indirectness, to draw our attention to the indirectness which played in woodcut itself, and to deny the argument that complexity is the primary nature of print. The paper maintains that techniques simply cannot exist isolatedly, but need support; techniques cannot be taken for the ultimate goal, but can be surpassed.

Inspiration can be drawn from a review of the outstanding newly wood engravings: The fascination provided by the wood engravings originates from the intense emotions that the artists have to reveal when they pay close attention to society and life. It is the woodcut painters’ spirits and emotions that brought forth a special initiative and controlling force, which help them overcome the deficiency in “technique” and “skill”.

The paper argues that woodcut is a cultural form and an art style in the relationship between technique languages and cultural backgrounds. It shares the common features of culture and art, and it should form an organic connection with the deep-going development of history, nation and major culture and realistic social formation.

The paper contends that woodcut is a kind of painting, sharing the common features of art---appealing art sentiments and thoughts invoking art views.

In view of the relationship between “plate” and “painting”, the paper holds that print is a type of painting just as traditional Chinese painting and oil painting, featuring with a combination of “plate” and “painting”. “Plate” is individuality while “painting” generality. Individuality should be included in generality, giving its expressions to factors of generality. Print does not belong to a kind of plate. It should be countered on painting, whereas “plate” can only act as a carrier. Print is a means to choose just as traditional Chinese painting and oil painting which artists applies to express their thoughts and feelings. In addition, print is an imagination carrier of artists’ principal spirit, which artists can choose. In other words, a real “print noumenon” surpasses “print”, and consistent with “painting noumenon” and “art noumenon”.