一中国的艺术现代化早在新文化运动时期已经开始,无论是林风眠等为代表的“拿来派”和以徐悲鸿为代表的“联姻派”都是中国当代艺术的探索阶段,正如人们常说新文化运动就如同中国的启蒙运动。可是这个“中国版启蒙运动”并非如同西方的启蒙运动一般以哲学为基础的由内而外改良,而是以表现形式开始的由外而内的改良。在当时的中国,民族矛盾激化,所有有良知的知识分子都是以救国救民的心态去学习,过程中开始都是以“洋为中用”思想指引的救国运动性质,艺术家将自己的创作方向开始投向海报和大规模抗日题材的主体性创作上。 As soon as the period of the New Culture Movement began in China, neither China’s “Lafite” represented by Lin Fengmian, nor the “Marriage School” represented by Xu Beihong are stages of exploration of contemporary Chinese art, just as the People often say that the New Culture Movement is like the Enlightenment in China. However, this “Enlightenment in China” does not, as the West’s Enlightenment, generally improve from the outside on the basis of philosophy, but on the outside from the manifestation. At the time in China, ethnic conflicts intensified. All intellectuals with conscience learned from the mentality of saving the country and saving the nation. The process began with the nature of the national salvation movement guided by the idea of ​​" The creative direction began to focus on posters and the main body of large-scale anti-Japanese creation.