Tapian (拓片, frottage, rubbing) is an ancient printing technique originating in China, in all probability born following the invention of paper (around II century). This technique consists of contact printing of relief surfaces that are not necessarily flat, in order to reproduce their motifs and shape.

Within the Chinese tradition, this technique was and is still used to "print" and reproduce stone or bronze surfaces decorated with bas-reliefs or engraved characters. It should be noted that the imperial edicts were carved on steles of rock and therefore such a technique immediately assumed a fundamental role in the diffusion, and as a result Tapian has a central role in the history of Chinese culture that goes far beyond the only artistic value.

The mimetic nature of such an artistic technique immediately made it a fundamental vehicle of diffusion, not only of the imperial laws, but also of the works of the best and most important calligraphers, thus guaranteeing a greater diffusion and cultural impact. Starting from the Qing dynasty (1644-1911), following various archaeological finds, again for reasons of diffusion and cataloging, this technique was adopted in order to reproduce the written characters engraved on the oracular bones dating back to the late Neolithic period. Other subjects widely used for printing are bronze artifacts, which were widely produced in the last millennium before the vulgar era. These artifacts were often used for ritual purposes, such as the famous cauldrons and tripods, but there was also a vast production of objects belonging to the sphere of everyday life (bronze mirrors, coins, weapons, various utensils etc.). These artifacts are characterized by a complex and refined ornamentation, in particular those that had a public use are characterized by the presence of written characters forming texts of various length. Also in this case the Tapian technique was used for diffusion and cataloging purposes.

After the advent of modern printing techniques and photography, this technique partially lost its original role to get closer to the sphere of art. Starting from the end of the 19th century, painters and calligraphers began to insert these prints in their works, with clear references to antiquity (Bogu hua 博古画).  In contemporary times this type of artistic expression is still widespread and practiced.