文人画在二十世纪的中国历经了几番荣辱毁誉。世纪初的人们骂它,以为是民族衰颓的标志,二十、三十年代的人们赞美它,以为它体现了东方艺术的伟大与活力。五、六十年代它被当成封建阶级的没落艺术,七十年末至八十年代中期,它更被骂成是阻碍“国画”发展的绊脚石,要请它进博物馆安息……一个有趣的现象是,文人画的几次被骂,都是因外来美术的缘故。世纪初是科学主义的西方古典写实主义,五、六十年代是苏联的社会主义现实主义,八十年代是西方的现代主义……而文人画又差不多每次都成为崇洋的迷狂之后向传统回归的主要途经。原因也很简单,从元代开始,文人画已逐渐占据画坛主流,文人画也就差不多成为古代美术传统的标志或代表。因此,在经历了狂热而至迷乱的以模仿一百年来几乎全部西方现代派为特色的短期“新潮”美术之后,向传统的回归以一种周期性的现象必然性地出现,而向文人画回归亦在当然之中。 Literati painting in China in the twentieth century after several times honor and honor. People in the early years of the century criticized it as a sign that the nation was in decline. People in the 1920s and 1930s praised it for thinking that it embodied the greatness and vitality of oriental art. From the late seventies to the mid-1980s, it was criticized as a stumbling block to the development of “traditional Chinese painting.” It is interesting to ask for it to enter the museum ... , Several times the literati painting was criticized, all because of foreign art sake. The beginning of this century was the scientist Western classical realism, the Soviet Union’s socialist realism in the 1950s and 1960s, and the western modernism in the 1980s. However, the literati paintings almost always became the traditional The main way to return. The reason is also very simple. From the beginning of the Yuan Dynasty, literati painting gradually occupied the mainstream of the painting circle, and literati painting almost became the symbol or representative of the ancient fine arts tradition. Therefore, after going through fanatical and confusing short-term “trendy” art that imitates almost all western modernism in a hundred years, the return to tradition has inevitably emerged as a cyclical phenomenon, Returning to painting is also a matter of course.