The Development Of National Chinese Painting

May 4th period of the arts on the Four-Wang representative of the traditional literature painting of criticism, leading from the New Culture Movement to the Revolutionary War period that the art of painting, thus sparking idea of art for people and reflect life. At the same time, to preserve traditional values and emphasis on self-culture-based, in the search of development from the traditional context of art that also have a corresponding. As a representative of the thinking of Chinese painting, Pan Tianshou 'keep distance between Western and Chinese painting' and the Two Peaks Theory under the teaching and learning environment sustainable development in the Zhejiang Academy of Fine Arts. The thinking in the 20th century, when Xu Beihong system over China art circumstances, stressed that national language and the spirit of the painting double features, and then seek a combination of mainstream idea, in order to open and self-confidence in the mentality of narrow crevices for the self-development of Chinese painting. At the time, the negative trend of the traditional Chinese painting in the painting that the nation was emerging possibility and inevitability. And thus stimulate a New Zhejiang School figure painting stage. This pursuit of Zhejiang Academy of Fine Arts and combination of the teaching system, have been continuing the development of the new era which has been affecting the Zhejiang Academy of Fine Arts creative artist groups seeking to promote hygiene to the Zhejiang Academy of Fine Arts artist groups to the centre of tradition update and absorb the West pating as advocated painting of the New Zhejiang School.Accordingly, the study systematic and comprehensive researched the history and characteristics of the New Zhejiang School. From the academic to the New Zhejiang School concept of the use of the chaos, demonstrated the history of Chinese painting, School and the evolution of the concept of historical knowledge, in a historical, and the development of dialectical look upon is still in the process of the development of the new Zhejiang School's history. In the origins research, the academic environment from the College of Zhejiang's geographical and cultural factors described, with the Ming Dynasty Zhejiang School, Shanghai School comparison to the clarity. Which combines the between Zhejiang Academy of Fine Arts and the New Zhejiang School, the close relationship the comparison of Lin Fengmian and Pan Tianshou thinking, the White Community and the New Zhejiang School relationship, the breakthrough of Chinese figure painting of the New Zhejiang School and artistic thinking of a macro inspection, proposed a 'keep distance between Western and Chinese painting', the Two Peaks Theory and 'in-depth at both ends of Western and Chinese arts ' three national painting ideological ideas. On this basis, through the flowers and birds paintings, landscapes paintings, figures paintings three representatives achievements of the New Zhejiang School in the practice of Road to the analysis. Awakening and maintenance, introspection and external, and for change and development summed up the New Zhejiang School manifestations of the practice of painting that in the new tradition for achieving a culture of contemporary values. Subsequently, from the selective copying learning, the Chinese-style sketch painting, the calligraphy of line and ink, the scholar-painter, the opening traditional five characteristics of the New Zhejiang School art features described in detail. In the conclusion of the article, the author of the New Zhejiang School face the modern Western art and modernization advocated by the national painting uphold the road and strong sense of certainty, and on the New Zhejiang School, the Chinese Painting implies a culture of self-confidence, based on Chinese painting traditional by relying on behind the traditional culture and believe that the spirit of the traditional Chinese painting with outside cultures coexist control of the system will continue to develop. The traditional national character will be re-found and re-understanding, the road of national Chinese painting will continue show its practical significance.