本文从二十世纪中国画艺术的大致背景入手,分析了清朝中叶书法帖学衰落以及“碑学”兴盛的缘由。在这样一个视觉文化艺术转折期,画坛正统势力日渐衰微,商业化创作落于俗套,加上西方古典绘画艺术观念的不断冲击,中国画几乎处于绝地末路的境地。这时,真正能挽救中国画艺术命运是“碑学”下的金石书画运动,标志着在中国绘画艺术中近代画风的开端,具有深刻的意义和价值。这一重要转折期之承前启后者的黄宾虹,包括海上画派,他们的绘画创作深受书法碑学影响巨大,作品追求金石气味,形成古朴、典雅、苍茫审美趣味,其丰富的“碑学”用笔为近代绘画开创了新的领域。 Starting with the general background of Chinese painting in the 20th century, this paper analyzes the decline of calligraphy and calligraphy in the mid-Qing Dynasty and the reasons for its rise. In the turning-point of such a visual arts and culture, the decline of orthodox forces in the painting circles and the commercialization of works fall into stereotypes. With the constant impact of Western classical painting and art concepts, Chinese painting is almost in a dead end situation. At this time, the real art of saving Chinese painting is the golden stone painting and calligraphy movement under the “Tablet Inscription”, which marks the beginning of the modern style of painting in Chinese painting art. It has profound significance and value. Huang Binhong, a pioneer of this important turning-point period, including the School of Maritime Painting, is greatly influenced by calligraphy and tablet. His work pursues stone scents and forms a simple, elegant and vast aesthetic taste. "Pens have opened up new fields for modern painting.