The significance of offering watermark printmaking teaching in universities is not simply a matter of expanding the types of printmaking, but a major event related to the continuation of China's own printmaking tradition and its contribution to world culture. As the oldest and earliest creator of color overlay printing technology in printmaking history, what artistic styles and spiritual connotations can Chinese printmaking provide to the world's printmaking in the present? If China's printmaking education is based on the Western printmaking knowledge system, where is our own watermark printmaking tradition? Where is its development path? As contemporary printmaking educators, can we consciously or conscientiously stand at the level of national cultural strategy to view the educational topics that lie before us? This is not only an educational responsibility bestowed upon us by history, but also a cultural reflection as individual artists. Jiangxi Normal University took the lead in organizing the first annual conference on watermark printmaking teaching in Chinese universities, which has important significance in the history of printmaking teaching in Chinese universities. It not only continues the experience and achievements of watermark printmaking teaching in universities since the 1950s, but also creates an open and integrated academic exchange platform for its future development. The Normal University Academy of Fine Arts, which hosted this conference, has put in a lot of hard work in initiating, organizing, preparing, raising funds, and arranging the conference. The conference has received positive responses from teaching units of printmaking majors in universities across the country, and currently more than 30 universities have registered to participate. I believe that the attending representatives can draw valuable experience from the conference discussions, observation of works, and teaching cases of watermark printmaking in different sister colleges, an