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在20世纪二三十年代,以高剑父、高奇峰、陈树人为代表的“岭南画派”和以潘和、赵浩公、姚粟若、邓芬、罗艮斋、李耀屏、卢镇寰、黄君璧、黄少梅、张谷雏、卢子枢、温其球、李凤廷、潘达微、黄般若等为代表的广东“国画研究会”因艺术创作、价值取向与艺术主张分歧而有过激烈的论争。其中,最大规模的一次论战在20年代后期。1926年,方人定在高剑父授意下,在广州的《国民新闻》《国花》等报刊发表《新国画与旧国画》一文,主张改革旧国画,引起论战,而广东“国画研究会”的黄般若在赵浩公指示
In the twenties and thirties of the 20th century, the “Lingnan School of Painting” represented by Gao Jian-fu, Gao Qi-feng and Chen Shu-ren and the top two schools represented by Pan He, Zhao Haogong, Yao Suruo, Deng Fen, Luo Genzhai, There is a fierce debate over the differences between artistic creation, value orientation and artistic opinions in Guangdong, such as Huang Shao-mei, Zhang Gu-chu, Lu Zishu, Wen Qiqiu, Li Fengting, Panda Pang and Huang Panguo. Among them, the largest controversy in the late 1920s. In 1926, Fang Rendeng published a book entitled “New Chinese Painting and Old Chinese Paintings” in Guangzhou’s “National News” and “National Flower” in Guangzhou under the guidance of Gao Jian-fu and advocated the reform of the traditional Chinese painting, causing controversy. The Guangdong “Chinese Painting Research Society ”Yellow as if Zhao Hao Gong instructions