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While the colonial culture and post-modern artistic form come to fore like the fierce floods and savage beasts, it seems as if upon-frame drawing is the land that is on the verge of being submerged. However, even though only a quarter of it has appeared over the surface of the water, the broad foundation still exists. In such a boundless ocean inundated with images nowadays, the artists are seen as the Noah’s Ark, old-fashioned but solid, which navigate firmly in their own routes without exhaustion, because they never slack off in shouldering the responsibility of vitalizing easel painting.This dissertation analyses the present situation modern upon-frame drawing from the angle of culture, artistic education in Chinese colleges and universities, market-oriented economy, pluralistic art, materials, skill and technique, exhibiting mechanism, critics, exhibiting planner, and drawers themselves. Also, it reveals the great vitality of easel painting and its space for development through vertically and horizontally employing the methods of artistic philosophy, aesthetics, study of image, study of artistic market, artistic sociology, and artistic morphology. Therefore, it can be predicted that the artistic form of upon-frame drawing is about to return soon in the whole world.
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