1935年全国木刻联合展览会通过展品的选择, 构建了"古今中外"的展览叙事框架.此框架之起源为鲁迅从日文书籍中借鉴的木刻史.受这次展览内容影响的广州现代版画研究会第二回半年展, 也显示出1935年新兴木刻界利用古今中外的时空坐标系考察木刻发展的思路.而跨越时空的木刻史坐标系有扬"中"重"今"的倾向, 因为它潜藏着进化史观的主导及体现时代之"民族精神"的目标.实际上, 木刻史的世界性是为塑造具有中国民族性的现代木刻艺术而服务.加之, 现代版画研究会为半年展准备的相关研究引领了创作潮流的转变, 新兴版画运动的发展方向逐渐明晰.%The National Joint Woodcut Exhibition in 1935 employed the narrative structure of the ancient mixing with the modern, and Chinese juxtaposing foreign in the arrangement of its exhibits. This idea had derived from a Japanese book from which Lu Xun translated into his version of the woodcut history. Influenced by the exhibition, the Second Semiannual Exhibition organized by the Modern Woodcut Prints Society revealed the trend among Chinese woodcut makers to examine woodcut development in the coordination of this shared narrative structure. However, this narrative paradigm underscored the contemporary woodcut-making practice in China rather than the ones abroad or ancient, because it was based on the theory of evolution and aimed at revealing the contemporary national spirit. Actually, the idea of forming modern art of woodcut with Chinese national characteristics through transnational comparison and the related research behind the Second Semiannual Exhibition indicated the particular orientation of the new woodcut movement.
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