近代中国画所面临的“如何对待西洋画”的命题,出现了多种不同的认识,至今争论不休。有主张“中西融合”以改良中国画的,如徐悲鸿、林风眠等;也有拒绝吸取西洋而坚持传统自我更新的,长期以来奉潘天寿为旗帜;傅抱石则一度力主融合中西,一度又力斥融合中西;张大干又认为绘画根本无中西之分,中西绘画不应有太大距离。今天的学术界,一般都是认同潘 Modern Chinese painting is facing the proposition of “how to deal with Western painting”, there have been many different understandings, so far debated. For example, Xu Beihong and Lin Fengmian, who advocated “Chinese-Western fusion” to improve Chinese painting, have also refused to learn from the West and insisted on traditional self-renewal and have long used Pan Tianshou as their banner. Fu Baoshi once diligently fused China and the West, Integration of Chinese and Western; Zhang Dagang also think there is no difference between Chinese and Western painting, Chinese and Western painting should not be too far away. Today’s academic community generally agree with Pan