In this essay the author lays a foundation for constructing a narrative model

which aims at rewriting the development of Chinese art in the first half of the 20th century. Building this model

the author primarily emphasizes the importance of context

which consists of external and internal aspects

with multiple payers within each aspect. With this model

the author examines the fundamental change to Chinese art in the early 20th century

and throughout the century as well

and proposes a reinterpretation as the main thesis: the interaction of Western inffluence and Chinese response has shaped the development of Chinese art in modern times. As the preliminary result of Chinese response since the early 20th century

a great divergence occurred in modern Chinese art

splitting it into two mainstreams: Chinese-style art and Western-style art

with a sub-split in each. Running two mainstreams forward side by side is the uniqueness of the development of modern Chinese art

and the uniqueness reveals the Chinese anxiety of cultural and national identity

which is the drive behind the Chinese response to Western influence.