中国绘画到了晚清时代,除了个别画家以及少数不居主位的画种有其进取之意义外,作为传统之山水、人物、花鸟这些占统治地位的绘画则以保守姿态为主流而暴露了其衰败的面目。因此,不但一些革命激进之士力倡艺术革命,向西方学习,就连改良主义者康有为也发出了哀叹,认为“中国画学至国朝而衰微矣!岂止衰微,至今郡邑无闻画人者,其遗余二三名宿,摹写四王、二石之糟粕,枯笔如草,味同嚼蜡,岂复能传后,以与今欧、美、日本竟胜哉!”在这种形势与呼声下,便有不少人奔赴欧、美、日本等国学习西洋绘画,回国以后以其西洋方式办学校教生徒,一时轰轰烈烈遍及全国。其声势之大,颇使心恋祖国传统者为之寒心,于是,他们以北京为大营,高举保存国粹之大旗,与之对垒抗 In the late Qing dynasty, Chinese painting took its own enterprising significance except for individual painters and a few non-dominant painterly paintings. As the dominant traditional painting, landscapes, figures, flowers and birds were exposed in a conservative manner Decaying face. Therefore, not only are some revolutionary and radical personnel advocating an artistic revolution and learning from the West, even the reformist Kang Youwei has also lamented that “the decline of Chinese painting to the state dynasty is more than declining, , The remaining two or three sinks, depicting the four kings, the second stone of the dross, pen dry as grass, the taste of the same wax, can not pass the complex, with today’s Europe, the United States, Japan actually Sheng-zai! ”Under this situation and voice , Many people went to study Western painting in Europe, the United States and Japan. After returning to China, they run schools in Western ways to teach their students and students, and they have enjoyed vigorous presence throughout the country. Its loud momentum, rather to the heart of the traditional love of the motherland for their chilling, so they in Beijing as a camp, hold the banner of preservation of the quintessence of the country, and its counter-resistance