20世纪初,在蔡元培的极力倡导下,美术教育家刘海粟、徐悲鸿、林风眠等将西欧的现实主义手法引入我国。早期设立的上海美专、国立杭州艺专、国立北平艺专,将西方的造型观念、解剖学、透视学纳入教学体系,使得中国传统写意人物画发生了前所未有的深刻变革。绘画创作以西方的现实主义创作方法为切入点,受其影响,中国水墨画现实主义创作思潮也迅速兴起。徐悲鸿的《愚公移山》、蒋兆和的《流民图》成为经典之作,随着“徐蒋”体系的建立,徐悲鸿、蒋兆和的水墨画写生和创作开始成为水墨现实主义绘画的先驱。20世纪50年代至60年代现实主义主题性绘画成为主流,中国水墨人物画也 At the beginning of the 20th century, with the utmost advocacy by Cai Yuanpei, art educators Liu Haisu, Xu Beihong and Lin Fengmian introduced the realist approaches in Western Europe to China. The early establishment of the Shanghai United States, the National Hangzhou Arts, National Peking Art College, the Western concept of modeling, anatomy, perspective into the teaching system, making the Chinese traditional portraiture unprecedented drastic changes. As the starting point of painting, the creation of realistic painting in the West is also influenced by the rapid development of the realism of Chinese ink painting. Xu Beihong’s “Foolish Man and the Mountain” and Jiang Zhaohe’s “Migrant Map” become the classic works. With the establishment of “Xu Jiang” system, Xu Beihong and Jiang Zhaohe’s ink painting sketches and creations become the pioneers of ink-wash realism painting. The thematic paintings of realism from the 1950s to the 1960s became the mainstream, as well as Chinese ink figures