中国丝网版画以1980年代进入艺术院校为契机，经过四十多年的探索，在艺术教育、创作实践和社会应用等方面展现了显著的活力和广阔的发展前景。尽管面临数字技术革命的挑战，但通过不断的技术创新和理念更新，中国丝网版画仍然保持了其独特的艺术魅力和文化价值。本研究聚焦于20世纪80年代至今中国丝网版画艺术的发展历程，探讨了该版画种类在中国的兴起、演变以及现状。通过采访主要艺术院校的丝网版画工作室创立者、资深教授和从业者，结合大量一手图像资料和历史档案，系统梳理了中国丝网版画从诞生到发展繁荣的历史轨迹，揭示了其背后的技术进步、教育策略和艺术探索，并讨论了这一版画形式如何在中国的特定社会文化背景下发展出独有的艺术价值和社会意义。对数字化时代背景下，丝网版画面临的挑战与机遇，特别是如何融合传统技艺和现代技术，持续创新并扩展其艺术边界和社会影响力提出相应的观点及解决方案。产生于工业化技术发展中的丝网印刷技术，在进入以艺术院校为主体的艺术领域之后，它的本体属性和文化脉络与在手工作坊里沉浸了数百年的木版、铜版和石版天生不同。从成像载体的角度而言，木版、铜版、石版等传统版种的载体是硬质材料，高度传达艺术家手工的“力”，实现一种物理材料与手工制作的共情；丝网版的成像载体丝网屏则几乎不承载艺术家的手工之力，更多呈现出一种无机的机械性。同时，不同于木版、铜版、石版等传统版种运用痕迹成像的方式，丝网版运用点阵成像方式，与今天的数字图像成像基本原理相同。并且，丝网版与传统版种的本质区别在于其印版性质的“半虚空”，这种本体属性位于实体版与虚拟版的交界之处，可以说丝网版是开启后印刷时代的关键转折。以低手工载体为媒介、运用点阵式成像、处于新旧媒介跨界关键节点处的丝网版，本质上更接近摄影、微喷、光屏、数码等艺术创作手段，它的质料属性、文化积淀与审美特征决定了其不同于传统版种的内在发展逻辑，更适合探寻一种共性的审美。笔者认为在当今的艺术语境下，可以在艺术院校中尝试突破丝网版作为四大传统版种之一的惯性认知，将其作为开启后印刷时代的原初版种，与新的数字图像技术联合发展，进入图像输出的范畴，探索其在当代艺术和设计中广泛的潜在可能性。
Serigraphy in China, entering art academies in the 1980s as a turning point, have demonstrated significant vitality and broad development prospects in art education, creative practice, and social application over more than four decades. Despite challenges from the digital technology revolution, through continuous technological innovation and conceptual renewal, Chinese serigraphy have maintained their unique artistic charm and cultural value. This research focuses on the development of Chinese serigraphy from the 1980s to the present, exploring its rise, evolution, and current status in China. Through interviews with founders of screen Printing studios in major art schools, senior professors, and practitioners, combined with extensive first-hand visual materials and historical archives, the study systematically traces the historical trajectory of Chinese screen Printing from its birth to its flourishing development. It reveals the technological progress, educational strategies, and artistic exploration behind it, and discusses how this printing form has developed unique artistic value and social significance within China‘s specific socio-cultural context. The research also addresses the challenges and opportunities faced by screen Printing in the digital age, particularly how to integrate traditional craftsmanship with modern technology, continuously innovate, and expand its artistic boundaries and social influence, offering corresponding viewpoints and solutions.Screen printing technology, which emerged from the development of industrial techniques, has inherently different physical properties and cultural contexts compared to traditional printmaking methods like woodblock, copperplate, and lithography that have been practiced in workshops for centuries after entering the art print world represented mainly by art academies. From the perspective of imaging medium, the supports of traditional printmaking techniques are hard materials that strongly convey the "force" of the artist‘s handwork, creating an empathy between physical material and manual craftsmanship. In contrast, the silk screen‘s imaging support, the mesh, hardly bears the artist‘s manual force, presenting a more inorganic, mechanical quality. Moreover, unlike traditional printmaking methods that use trace imaging, screen printing employs a dot-matrix imaging system similar to the basic principle of digital imaging. The essential difference between silk screen and traditional printmaking lies in its "semi-void" plate nature, a physical property situated at the intersection of physical and virtual plates, making silk screen a key turning point in the transition to the post-printing era.As a medium with low manual input, using dot-matrix imaging, and positioned at the critical juncture of new and old medium, screen printing is essentially closer to photographic, inkjet, light screen, and digital art creation methods. Its material properties, cultural accumulation, and aesthetic characteristics determine an internal development logic different from traditional printmaking, more suitable for exploring a public aesthetic. In today‘s artistic context, the author suggests that art schools can attempt to break through the inertial cognition of screen printing as one of the four major traditional printmaking techniques, treating it as a primordial printmaking method for the post-printing era. By integrating with new digital imaging technologies and entering the realm of image output, the potential of screen Printing in contemporary art and design can be more widely explored.
