作为岭南画派第二代代表人物之一的方人定在内忧外患的时代对中国绘画发展前途的思考是带有深刻的时代烙印的,在整体艺术革新与探索的语境下,他沿着高剑父的折衷东西道路,以具有时代性、表现现实生活的人物画为题材进行前无古人的中国人物画革新,其从站在西洋画的立场来革新中国画到相对客观地不断修整自己的观念,从否定书画关系到部分认可“书画同源”历史价值,从对其师亦步亦趋跟随到修整其师的折衷理念,从轻视甚至否定笔墨在绘画中的作用到折衷式的调和笔墨与造型、色彩之间的关系,方人定一步步调整自己的关照角席,他所创造的中国人物画风格具有中国画革新意义的历史价值和启示意义,他被誉为为人生而艺术的“时代画家”。 As one of the representatives of the second generation of the Lingnan School of Painting, Fang Fang-ying, a practitioner of the second generation of the Lingnan School of Painting, set his thinking on the future of Chinese painting in an era of internal and external disasters with a profound imprint of the times. Under the context of overall artistic innovation and exploration, Gao Jian-fu’s eclectic road, with the characteristics of the times, the performance of real life portraits as the theme of unprecedented Chinese character painting innovation, from standing in Western painting standpoint to reform Chinese painting to relatively objectively and constantly trim their own ideas, From negating painting and calligraphy to the partial recognition of the historical value of “painting and calligraphy homology”, from the eclectic idea of ​​following his teacher’s steps to dressing his teacher, from neglect or even negate the role of brush and ink in painting to eclectic reconciliation of brushwork and shape, The relationship between the color, side by side to adjust their attention Corner step by step, he created the Chinese figure painting style has the historical significance and inspiration significance of the significance of Chinese painting, he was hailed as the art of life “era painter ”.