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民国初年,美术改革的浪潮不断掀起,“西化派”是其中的重要力量。以往的许多著作将当时“西化派”与“传统派”的矛盾描绘得水火不容,然笔者认为,“西化派”与“传统派”的争端没有我们想象的激烈,但“西化派”也有无论如何都不能接受的理念,那便是使艺术屈从市场。至20世纪30年代,西化的呼声逐渐平息,“西化派”虽未实现自身追求,但它们的活动对书画界还是产生了意想不到的积极影响。在草率的改革失败之后,书画作品的物质属性被强调,书画市场的重要性也得到了维护,最重要的是,许多西画家意识到表现手法的问题,并开始尝试与传统融合,而他们中的更多人则为解决生计问题直接转向传统书画的创作。
In the early years of the Republic of China, the tide of art reform was constantly set off. “Westernization faction” is one of the important forces in this field. Many writings in the past portrayed the contradiction between the “Westernization School” and the “Traditional School” at that time, but the author believes that the dispute between “Westernization School” and “Traditional School” is not as intense as we imagined However, there is a concept that is unacceptable in any case. That is to submit art to the market. By the 1930s, the voice of westernization gradually subsided. Although westernized factions did not fulfill their own pursuit, their activities had an unexpected positive impact on the painting and calligraphy industry. After the sloppy reform failed, the material attributes of calligraphy and paintings were emphasized and the importance of the painting and calligraphy market maintained. Most importantly, many Western artists realized the problem of expression and began to try to blend in with tradition Of the more people solve the livelihood issues directly to the traditional calligraphy and painting creation.