In this article, we considered the contents and the properties of the theoretical books that Luxun collected in connection with prints in other to answer the question that through what channel Luxun acquired the knowledge and understanding about the theory and creation of prints. Through this consideration, we confirmed that while English-language books that Luxun collected included professional contents based on the fundamental understanding of prints, Japanese-language books had the property of abecedarium suitable for beginners. We think that Japanese- language books were more useful for Luxun who is not familiar to prints than English-language books. Based on this assumption, we analyzed the connection between Luxun and the theoretical books of prints in Japan by making a comparison between Luxun’s writing and that of Japanese-language books, and by examining the name and concept of terms of prints such as creative wood-engraving, reproductive wood-engraving, wood-engraving. In the process that prints were accommodated in china, Luxun assumed a role of an initiator or a bridge.

루쉰(Luxun), 판화(print), 목판화(xylography), 창작판화 (creative wood-engraving), 널목판(woodcut), 눈목판(wood- engraving), 우키요에(Ukiyoe)