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“五四”新文化运动的爆发标志着中国传统文化具有自律性的渐进型发展方式被彻底打破。伴随着康有为“中国画学至国朝而衰弊极矣”的疾呼,整个20世纪以中西文化与艺术的碰撞冲突为主线,展开了对此以及因此引发的问题的巨大争议。无论是主张融合中西的折衷派,还是坚守传统的国粹派,对这一质疑的普遍应答至少说明,甲午战争之后的国人已经逐渐丧失了对中国文明优越性的一贯自信。“改良中国画”成为这一背景下,自觉者和他觉者所面对的统一的时代命题。无论从时代背景的角度还是
“May Fourth ” The outbreak of the new cultural movement marks the gradual development of Chinese traditional culture with self-discipline was completely broken. Accompanied by Kang Youwei, “Chinese painting to the DPRK and the extreme bad effect,” the cry, throughout the 20th century to the collision of Chinese and Western cultures and art as the main line, launched a huge controversy on this and the problems arising. Whether it is advocating the integration of Chinese and Western eclecticism or sticking to the traditional quintessence, the general response to this question at least shows that after the Sino-Christian War, people in China have gradually lost their confidence in the superiority of Chinese civilization. “Improving Chinese Painting ” becomes the unified proposition of the times confronting the conscious and the other. No matter from the perspective of the times or the background