自上世纪末以来,中国社会进入高速发展的现代化时期,各种西方艺术思潮进入,中国画也趋于开放,呈现出多元化发展的态势。各种画派的出现、笔墨的创新、题材的拓展,也引发了中国画史上所不曾有过的文化冲突。50年代以来已成为中国画教育中权力话语的写生问题,受到了画家的质疑。人们会问:中国画的路为什么越走越窄?中国画教育中的“写生”也写了近一个世纪了,为什么没有培养出像齐白石、黄宾虹、潘天寿这样的画家呢?其实,今天的中国画画家远离写生是不争的事实。有的画家一心把目光瞄准市场,不断复制自己的作品,根本没有时间、精力 Since the end of the last century, Chinese society has entered a period of rapid development in its modernization. Various Western art trends have entered and Chinese paintings have also been opening up, presenting a diversified development trend. The emergence of various schools of painting, the innovation of ink and calligraphy, and the expansion of the subject matter have also triggered cultural conflicts that have never happened in the history of Chinese painting. Since the 1950s, it has become the sketching of the power discourse in Chinese painting education and has been questioned by painters. People will ask: Why is the road to Chinese painting getting narrower? The “sketch” in Chinese painting education was also written for nearly a century. Why did not such painters as Qi Baishi, Huang Binhong and Pan Tianshou be cultivated? Actually, today It is an indisputable fact that Chinese painters are far from sketching. Some painters bent on targeting the market, and constantly copy their own works, there is no time and energy