从形态上来说,代表着中国绘画核心精神的水墨画在元代就已经达到高度成熟的地步,此后的几百年可以看作是其发展轨迹的延续。晚清时期,“中学为体,西学为用”的策略以及对民间艺术的汲取,为中国画开拓了新路,由此出现了不少传统的大家。但就整体而言,文人画仍处于逐渐没落的境地中。清“四王”正统地位的确立,标志着水墨形态的固化和僵化,这最终导致新文化运动对它的狂飙批判。作为“中学为体, Morphologically speaking, the ink painting representing the core of Chinese painting reached a high degree of maturity in the Yuan Dynasty, and the subsequent centuries can be regarded as a continuation of its development trajectory. In the late Qing dynasty, the strategy of ”middle school as the body, Western learning as the use of“ as well as drawing on the folk art opened up a new road for Chinese painting, thus many traditional people appeared. However, as a whole, literati painting is still in a state of decline. The establishment of the orthodox status of ”Four Kings“ of Qing Dynasty symbolizes the solidification and rigidification of the ink forms, which finally leads to the critique of the Hurricanes by the New Culture Movement. As a ”middle school as a body,