中国的当代艺术从萌芽,探索,再到今天国内乃至国际范畴轰轰烈烈的场面,几乎是伴随着改革开放也是“现代化”的三十年进程同步成长的.正如当年康梁变法一样的心态,面对中西方社会经济文化的巨大落差,整个中国几乎全面的倒向了西方,在艺术界也不例外,李小山关于“中国画到了穷途末日”的观点,在当时引发了激烈的争论,其实这场争论是一个含义众多的个案,其中的含义之一就是,在李小山等许多人看来,中国画因它特定的精神内涵和文化意味,已无法在一个需要现代化的中国继续发展。这意味着李小 China’s contemporary art has witnessed a vigorous development from its infancy and exploration to today’s domestic and even international spheres, almost simultaneously with the three decades of reform and opening up as well as the “modernization.” As the mentality of Kang Liang’s reform in that year, In the face of the huge gap between the social economy and culture in the West, the entire Chinese nation has almost completely turned to the West. It is no exception in the art world. Li Xiaoshan’s view on the “Chinese painting to a dead end” sparked heated debates at the time, In fact, this debate is a case of many meanings. One of the implications is that in the eyes of many people such as Li Xiaoshan, Chinese painting can no longer sustain its development in a country that needs modernization because of its specific spiritual and cultural meanings. This means Li Xiao