為了呼應呂澂的〈美術革命〉，陳獨秀在1918年1月15日的《新青年》上發表了同名文章〈美術革命〉（為作區別，本文稱〈美術革命－答呂澂〉）。五四時期的中國美術界，實際上並沒有像當時文學界那樣一批激進分子，而只有一些學習西畫的年輕人提出比較積極的主張。然而，《美術革命－答呂澂》與同時代其他言說相比，卻可以說是批判中國傳統繪畫最為激烈的。本文旨在對〈美術革命－答呂澂〉的歷史位置、意義以及相關的當代性思考進行討論，發現：「美術革命」的想法與舉動，是在「建設西洋式之新國家，組織西洋式之新社會，以求適應今世之生存。」的情勢中被命題，是近代中國全面社會文化革命的一個部分。「美術革命」也是在「文學革命」之後的一個選項與範疇，其所要達成的就是從政治思想、學術觀點、倫理道德意識、文學藝術風尚等方面向封建復古勢力進行抨擊，以解放「人」之個體性。然而，〈美術革命－答呂澂〉裡反覆出現的指導語彙，事實上是充滿著一種蠻橫性的，其作用在使「寫實主義」最終得到合法性的權力與地位。是以，「美術革命」倡言者的反抗成規、重視生命思想的狂熱精神與手法，終使「唯有寫實才能改造中國畫」成了當時美術界有力的口號。

In a response to Lu Cheng's “Art Revolution”, Chen Duxiu published in New Youth on January 15, 1918 an article of the same name, which is referred to as “On Art Revolution-A Reply to Lu Chen” hereunder to avoid confusion.During the May Fourth Movement, the Chinese art circles in reality did not have a group of activists as there was in the literary circles at that time. Only a few young people who studied Western painting advocated to act more proactively. However, in comparison to speeches and writing from the same period, “On Art Revolution-A Reply to Lu Chen” can be said to have been especially critical of traditional Chinese painting. Upon discussing the historical position, meaning and relevant contemporary thoughts with regards to the response to “On Art Revolution-A Reply to Lu Chen”, this article finds that the idea and action behind “art revolution” was formulated under the circumstances of “building a new Western-styled country and society as adaptation to survive this world.” It is a part of modern China’s comprehensive social and cultural revolution. “Art revolution” followed “literary revolution” as an option and category. It was achieved by attacking feudal and traditional forces in various aspects from political ideologies, academic points of views, ethical and moral consciousness to literature and art by liberating “man” as an individual. However, the repetition of certain keywords in the “On Art Revolution-A Reply to Lu Chen”showed that it was, in fact, filled with a kind of capriciousness that ultimately legitimized the power and status of “realism”. The proponents of “art revolution” advocated the rebellion and emphasized the exuberant spirit and techniques of life. Finally “only realism can revolutionize Chinese art” became an influential slogan in arts at that time.