中国的书法和绘画有着天然的血缘关系,“书画同源”几乎是一个人尽皆知的话题。但是,长期以来书和画由于专业分工太细带来的种种弊端常常被人们忽略。20世纪初的社会变革带来了“科学”的普及和强调图画手工的“实学”教育,中国画开始进入学堂,成为新式教育的重要内容。经历了百余年的教育变革,在专业分工渐趋细化的现代教育模式中,文化的商品化态势愈来愈明显,国画教育也逐渐呈现出衰退的景象:既没有培养出与前辈比肩的国画大家,师生间的关系也越来越淡,而且分工越细,问题越多,当前“学画者不知书,工书者不谙画”的现象充斥画坛,书画兼修的画家或者书家越来越少,在大学校园里,书法与绘画的分科壁垒森严,体系井然,绘画与书法的关系也在渐渐疏远。在社会 Chinese calligraphy and painting have a natural blood relationship, “calligraphy and painting homology ” is almost a well-known topic. However, the longstanding shortcomings of books and paintings due to too small division of labor are often overlooked. The social change in the early 20th century brought about the popularization of “Science ” and the emphasis on “manual learning ” education of Chinese painting. Chinese painting began to enter the school and became an important part of new-style education. After more than one hundred years of educational reform, in the modern education mode of gradual refinement of professional division of labor, the commercialization of culture has become more and more obvious. The education of traditional Chinese painting has also gradually shown the phenomenon of recession: neither has it developed a shoulder to shoulder with its predecessors The relationship between teachers and students is also getting lighter and weaker, and the more division of labor, the more problems, the current “students do not know the book, the book is not familiar with painting ” phenomenon full of painting, calligraphy and painting painter Or fewer and fewer calligraphers, on the university campus, calligraphy and painting are heavily guarded, well-organized, and the relationship between painting and calligraphy is gradually alienated. In society