用绘画来记录或再现历史场面,从文化史看,是人类发展进程中的重要证据。这个现象在东西方都差不多。但宏大的历史绘画却是西方古典主义所独有的传统,自文艺复兴到十九世纪,古典主义绘画在两个方向上齐头并进,一方面是不断改良再现的技术手段;另一方面是扩大了绘画的题材领域。一直到前工业革命的时代,画家从来都是历史场景的塑造者.他们掌握着再现二度空间的技艺秘决,因而也能复制他们的想象,并最终控制了公众的眼睛。所以,可视的宏大场景,无论是神话的还是历史的,画家都是当之无愧的创造者。进入近现代社会以来,无论在东方还是西方,国家意识形态都占据了凝聚民族精 The use of painting to record or reproduce historical scenes, from the perspective of cultural history, is an important evidence in the process of human development. This phenomenon is similar in both east and west. However, the grand historical painting is the unique tradition of western classicalism. From the Renaissance to the nineteenth century, classical painting went hand in hand in both directions. On the one hand, it is a technical means of continuous improvement and reproduction. On the other hand, Thematic areas of painting. Until the time of the pre-industrial revolution, painters had always been the creators of historical scenes, and they held the secret of the art of reproducing second-degree space and, as a result, copied their imagination and ultimately controlled the public’s eyes. Therefore, the visual grand scenes, whether it is mythical or historical, painters are well-deserved creator. Since entering the modern society, both in the East and in the West, the national ideology has occupied the national essence