20世纪以来,我国美术史的研究空前兴盛,研究的方法也由单一的美术史跨向与社会、政治、经济、历史等学科交叉的状况、成绩斐然,这些有价值的研究我毫不怀疑它们的学术性.但多有流于背景式说明的感觉。本文认为,把美术放在文化语境里去看比较恰当。美术是映射人类审美、情趣、尚好的物化意识,与当时人们内心的精神文化密切相关。就整个人类文化而言美术仅是其中的一个分子,从大空间来说受制于政治和经济等客观因素。但是,艺术是处于人类意识最上层的,与宗教、哲学、文学等整合的意识形态范畴,它透过政治、道德、法律等中间因素而受制于经济基础,有时和社会发展的状况异步(超前或滞后)。众所周知,中国美术发生重大变革的时期大都在国家危难之际,这和当时文化思潮的变更密切相 Since the 20th century, the study of the history of fine arts in our country has been flourishing ever since. The method of research has also made remarkable achievements by translating the history of a single art into the cross-disciplinary issues of social, political, economic and historical subjects. I am not in doubt about these valuable studies Scholarly but there is a lot of background in the description of the feeling. This article argues that putting art in a cultural context is more appropriate. Art is a reflection of human aesthetics, fun, good materialized consciousness, and people’s inner spiritual culture is closely related. As far as human culture is concerned, fine arts is only one of them. From a large space, art is subject to objective factors such as politics and economy. However, art is an ideological category at the top of human consciousness integrated with religion, philosophy and literature. It is subject to economic fundamentals through intermediate factors such as politics, morals and law, sometimes asynchronously with the social development Or lag). As we all know, most of the major changes in the art of Chinese art took place during the crisis of the country, which was closely related to the change of cultural trends