林风眠(1900—1991)和徐悲鸿(1895—1953)分别提出的“中西调和”与“中西融合”的艺术主张所倡导的新艺术产生了巨大的影响,但是两人的主张从表面上看相似,究其内涵又有着各自不同的实质。 徐悲鸿对中西方艺术采取的是兼容的态度,他对中西方的审美和文化差异做了比较,形成了自己的中国艺术改良论:“古法之佳者守之,垂绝者继之,不隆者改之,未足者增之,西方画之可采入者融之。”旅法前后的徐悲鸿对于中西融合问题是实用主义的态度,对民族艺术和西方艺术采取以艺术的高 The new art advocated by Lin Fengmian (1900-1991) and Xu Beihong (1895-1953), respectively, advocated by the artistic ideas of “reconciliation between Chinese and western cultures” and “integration of Chinese and Western cultures” had a tremendous impact. However, the two claimed that they were superficially similar in appearance, Their connotation has its own different essence. Xu Beihong adopted a compatible attitude towards Chinese and Western art. He compared the aesthetic and cultural differences between China and the West and formed his own theory of Chinese art improvement: “The good of the ancient law is followed by the extinct, Those who have not yet risen, and those who can be acquired by Western painting, blend in. ”Xu Beihong around the tour law was a pragmatic attitude toward the integration of Chinese and Western cultures, and took a high artistic approach to national art and western art