The Debate Of Tradition And Integration-from The Perspective Of Chinese Painting Debate

In1946, the two parties are in the division period. At that time, XuBeihong tookover the Art College as a president. He implemented drastic reform, but lead to a largenumber of the artist’s dissatisfaction. To oppose reform, the professors in the PaintingDepartment of Art College-Qin Zhongwen, LiZhichao and ChenYuandu began tostrike. Safeguard the dignity of a teacher’s strike turned into an academic dispute ofthe development path of Chinese traditional painting. At that time China’s mainstreamthought of painting is the traditional Chinese painting, but it has been increasinglyaffected by the Western painting ideas. They want to defend traditional Chinesepainting, and XuBeihong practice his idea in the country is bound to defend himself.It is not surprising why this is so serious about this matter. To implement his reformsin his country, XuBeihong have to win the debate with the traditionalists, otherwisehis reforms can only be limited in Beiping Art College.In the debate, traditional painters are full of dissatisfied emotion withXuBeihong’s teaching reform. It’s not a good academic debate. Chinese painting andWestern painting are two different forms of the language, there is no ranking points.Xu created a new form of language to express people’s lives.“Painting controversy” isnot only a teaching conflict. In the time of flouring ideological competition, each sidehas its own focus and independent value, both reflecting the cultural connotation ofthat era. They are both the important part of modern art, which discuss and evolve inthe history. Under the impetus of Realism, XuBeihong combined with Western artsand traditional painting, created a new form of art, and become mainstream in China.This is not only because his own will, but the choice of history.