Model Constantly Changing While Doctrine Not

hi Chinese artistic circles, both 1980s' Crises Theory and 1990s' debates over this assumption centered on the future of Chinese painting against the macro cultural background of the present age. In the context of reality, Buddhism, Taoism and Confucianism by which Chinese painting, as a special cultural phenomenon in the world civilization, has been nurtured and which it carries as traditions, have lost their significant influence on painting. And the traditional scholarly painting has become fetters on the contemporary Chinese painting. Hence, the concern over the its developmental orientation has grown even tense.The "national character" was emphasized by the assertion that "it would be better to cling to the outworn ideas than to adopt absurd notions". Obviously, this statement carries the significance of warning and enlightenment, especially in the multivanate ( ordisorderly and random ) setup of the artistic world. It may serves as one of the channels through which traditional Chinese culture is carried on. However, in the Chinese painting history, doubt and denial of traditional culture affected the course that Chinese painting would follow.This paper confirms Huang Binhong's view of "national character in painting" and verifies the theoretical and practical significance of maintaining the character by examining his theories and artistic practice and analyzing the relationships between the epochal character of painting and its national character against the historical and cultural background.