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20世纪上半叶在中国绘画的现代发展问题上存在着两大尺度:一是西方的尺度,如融合派所持有;一是中国的尺度,如传统派所持有。传统派中的“再解释”一派借西学以肯定中学在“现代”的存在价值,以丰子恺、宗白华为代表,他们意识到要实现中国传统绘画的现代转型,必须在自己传统的理论话语中寻找可供再生的思想资源,必须先实现话语转换,为中国绘画的现代发展提供理论的依据。
In the first half of the 20th century there were two major dimensions of the contemporary development of Chinese painting: the scale of the West, as held by the Convergence, and the scale of China, as held by the traditionalists. In the traditional school, the “re-explanation” school borrowed from Western schools to affirm the existence value of secondary schools in “Modern ”. As represented by Feng Zikai and Zong Baihua, they realized that in order to realize the modern transformation of Chinese traditional painting, In his traditional theoretical discourse, looking for sources of ideas that can be regenerated, we must first realize the conversion of discourse to provide a theoretical basis for the modern development of Chinese painting.