自明以降,中国美术走入了一个头绪纷杂繁复的发展阶段。对于这一段历史,现有的研究,无论是静态的描述还是动态的把握,距客观、准确、深刻的要求仍然相去甚远。毋庸讳言,固有的方法和角度已经妨碍了研究的进度。本文尝试从一个新的角度——批评的视角介入这一阶段的研究。由此,我们将推绎出有关这一阶段美术时空构架的一些新的结论。批评(criticism),从词源及内涵而言,包含有分析、析解(analyse)以及评判、鉴定(judge)的意义。它的范围并没有严格限制。从另一方面看,批评还包括批评理论本体和批评实践运 Since then, Chinese art has entered a complex and complicated stage of development. For this period of history, the existing research, whether static description or dynamic grasp, is far from objective, accurate and profound requirements. Needless to say, the inherent methods and perspectives have hindered the progress of the research. This article attempts to get involved in this phase of research from a new perspective - critical perspective. As a result, we will deduce some new conclusions about the space-time architecture of art at this stage. Criticism (criticism), in terms of etymology and meaning, contains the meaning of analysis, analysis and judgment and judgment. Its scope is not strictly limited. On the other hand, criticism also includes criticizing the theoretical body and criticizing the practical operation