A Study Of The State Clan In The Debate On Chinese Painting In The Republic Of China

In the 20 th century history of Chinese painting decelopment, the debate of Chinese painting during the Republic of China plays a significant role. As one of debating members, the scholars from quintessence preservating part, based on deep understanding of the tradition, and standing on the position of confrontation between Chinese and western culture, resistanted the blindly westernized culture at that time in the field of Chinese painting. And it has made great contributions to defend the good tradition of Chinese painting, and at the same time it offers new ways and illustrations for the development of the later Chinese painting. This paper takes points to study the causes of the quintessence movement, and the culture proposition of “Save” and “change” which presented by the Quintessence preservating part. This paper can be divided into four parts, the first part is the background of the quintessence preservation, the origins and motives of quintessence, and the cause of the proposition of the “decline” of Chinese painting. The second part elaborates the guardness of the traditional Chinese painting by the quintessence preservating part, and discusses the quintessence preservating part’s position and the basis on the aspects of the spirit of Chinese painting, the heritage value of Pen and Ink, copies and sketches of the meanings from Chinese and western and etc. The third part with Huang Binhong, Pan Tianshou, and Feng Zikai as the quintessence preservation represents, illustrates their adjustments after reviewing and confirming Chinese painting, standing in the macro perspectives of Chinese and western culture, also under the impact of modified atmosphere. The fourth part through the social background and historical situation, discusses the cause of the eventually failure of the quintessence preservation movement, and states the quintessence preservation movement’s influences on the society at that time and the profound significances of the development of Chinese painting on later generations. The finally part summarizes the purpose of the whole papaer.