当代中国画艺术史的书写面临来自文献方面的双重压力,一方面是表面上文献资料极端丰富,量大惊人,使人无从下手。另一方面,真正具有艺术史学价值的文献匮乏得惊人,使人无从寻找。原因在何处?从表面繁荣的角度看,不是艺术史家真的无从下手,而是大量的中国画创作借着返回传统而落入摹制中国文人画一招一式的笔墨程式之中,制造出大量的民间工艺品,我将这种方式归结为隔代抄袭和定量复制。二是中国画在向当代艺术转型的过程中,简单地用西方当代艺术的铁鞋 The writing of contemporary Chinese painting art history faces double pressures from the literature. On the one hand, on the one hand, there is an extremely rich literature on the surface and an alarming amount of volume, making it impossible for people to get started. On the other hand, the real lack of literature on the value of art historiography is so staggering that nobody can look for it. What is the reason? From the perspective of prosperity, it is not that art historians really can not get started, but a large number of Chinese paintings fall into the tradition of literary works by the Chinese literati artists through the return of traditions to create a large number Of folk arts and crafts, I attributed this approach to second generation plagiarism and quantitative reproduction. Second, Chinese painting in the process of transition to contemporary art, simply using the iron shoes of Western contemporary art