Schimbarea paradigmei, persistența nucleului tradițional și introducerea unui nou mediator
Paradigm shift, persistence of the traditional core, and introduction of a new mediator

Summary/Abstract: This study analyses the evolutionary rise of engraving in relation to the major transformations that have taken place in the process of technical reproduction, from the advent of the printing press to the invention of photography and, later, digital technologies. Starting from Walter Benjamin's concepts regarding the historical ruptures of reproduction technology, the text argues that each technological stage has generated a significant reconfiguration of the status, function, and practices of engraving. Photography introduced for the first time a reproduction independent of the artist's manual intervention, leading to a redefinition of the notions of authenticity and aura. The implications extend to the crisis of mimetic representation and the aesthetic mutations generated by historical avant-gardes.In the context of accelerated modernisation and the structural reorganisation of artistic production, traditional media tend to lose their relevance in relation to new forms of visual mediation. The integration of digital technologies offers engraving extensive possibilities for experimentation, hybridisation and dematerialisation of the artistic process. In this regard, the study examines contemporary theoretical perspectives that challenge the rigid opposition between traditional and digital techniques, arguing that contemporary engraving increasingly functions as a transdisciplinary medium in which artistic conception prevails over strictly technical craftsmanship. Thus, digitization contributes to the reconfiguration and expansion of the visual vocabulary of engraving. The hybridization of techniques is a fundamental operational paradigm for understanding contemporary engraving as an adaptive medium, capable of maintaining its relevance within the current artistic system.

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