水彩画自18世纪起陆续经由传教士、留学生等传播媒介引入中国,最终汲取了中国传统艺术精神与创作手法,呈现出符合中国传统审美习惯的具有民族特色的水彩画,并因其表现力强、绘画时间短、长于营造空间气氛等特点,在清末民初被艺术创作者广泛作为插图、封面等形式灵活运用于各类出版物中,本文采用中层概念和历史考证相结合的方法,探讨民国时期西方水彩画在中国出版物中的应用,阐释水彩画自身的发展与在出版物中起到的作用之间的有机联系。 Since the 18th century, watercolor has been introduced into China through missionary, foreign students and other media. It eventually draws on the Chinese traditional art spirit and creative techniques and presents a watercolor with ethnic characteristics that accords with traditional Chinese aesthetic habits. Due to its strong expression and painting Time is short and longer than creating atmosphere. In the late Qing dynasty and early Republic of China, art creators were widely used as illustrations, covers and other forms of flexible application in all kinds of publications. This paper uses the combination of middle concept and historical research to explore the western The use of watercolor in Chinese publications illustrates the organic link between the development of watercolor and its role in publications.