进入20世纪以来,人们一直在谈中国画的变革,谈了一个世纪,探索了一个世纪,到80年代,出了个黄秋园、陈子庄和“新文人画”的中国画,使相当数量的人们仍然认为“中国画”还是那种宣纸笔墨,水墨写意,笔简形具的“文人画”。这种状况当然有全面西化的反拨及回归传统之意,但同时也带来子某种复古的意味。20世纪西方美术大量的引入,使中西融合的世纪 Since entering the 20th century, people have been talking about the change of Chinese painting. Speaking a century, exploring a century, to the 80’s, out of a Chinese painting of Huang Qiuyuan, Chen Zizhuang and “new literati painting”, a considerable number of people still think “Chinese painting” is the kind of “literati painting” with rice paper, ink and ink and pen. This situation, of course, has the intent of full Westernization’s callback and return to tradition, but at the same time it has brought some kind of vintage meaning. The introduction of a large number of Western art in the 20th century, so that the integration of Chinese and Western centuries