颜文樑对于技法的研究和探索都是在中国当时还没有成型的参考的条件下完成的,其做法无疑具有先行者的探索作用。而在其后来的办学活动中,颜文樑身上既有国人自行的探索,又有向国外的直接学习,更不乏将国外的专门知识与技能总结传播的过程,颜先生一人兼具了实践者、引进者和传播者的三重角色,为中国现代美术事业的发展作出了筚路蓝缕之功。本文叙述了颜文樑的美术之路,不仅是画家的美术之路,更是社会化的美术推广之路。尤其是他在20世纪30年代率先在中国开办实用美术科,提倡以美术设计振兴工商业,提倡建设国家级美术馆,以促进中国文化之繁荣。 Yan Wenliang’s research and exploration of techniques are all done under the condition that China did not have a reference for shaping at the time, and his method undoubtedly has the pioneering role of exploration. In his later activities, Yan Wenliang, who not only had their own explorations but also learned directly from abroad, summed up the dissemination of foreign expertise and skills. Mr. Yan was a practitioner and introduced And the communicator’s triple role, for the development of China’s modern fine arts has made a great success. This article narrates Yan Wenliang’s art road, which is not only the artist’s art road, but also the socialized art promotion road. In particular, he took the lead in starting the Practical Arts Section in China in the 1930s, advocating the revitalization of industry and commerce with fine arts and design, and advocating the building of a national art museum to promote the prosperity of Chinese culture.