This article focuses on the arguments about the Traditional Chinese Painting innovation theories during the 17 years (1949—1966) after the founding of The People's Republic of China. The author analyses and expresses the singularity and strong political awareness of the innovation theories under the closed circumstance during the period .It is based on the argument contents,the inner contradictions and the characteristics of the theories as well as the differences between the arguments during this period and another two arguments of the 20th century . |