20世纪中国画的历程,是在逆境中图生存,在困境中求出路,在坎坷中走向复兴的。在世纪末由于机遇使然,终于迎来蓬勃的发展和看好的前景。在20世纪大部分时间里,传统中国画是被当做“国故”“国粹”(与“古董”同义)来对待,在追求“西化”的人们眼中它固然已经落伍,在主张“普罗文化”的青年进步文化人眼中,它更是旧文化、封建文化的代表,是革命和改造的对象,还谈不到继承。新中国成立后虽然尊重其民族文化的地位,但由于专注其社会功能,意识形态负担过重,出 The course of 20th century Chinese painting is to survive in the midst of adversity, find its way out of difficult situations, and revive in rough and rough conditions. At the end of the century, due to the opportunities, the prospect of vigorous development and optimism is finally ushered in. In most of the twentieth century, traditional Chinese paintings were treated as “national origin ” “national essence ” (synonymous with “antique ”), in the pursuit of Outdated, in the eyes of the young progressive culture people who advocate “universal culture,” it is even more representative of the old culture and the feudal culture, the object of revolution and reform, and can not talk about succession. Although China respected the status of its national culture after the founding of new China, due to its concentration of social functions and over-burdened ideology,