Abstract: In the 1930s,a group of Chinese artists,represented by the members of the "Yi Feng Society" who initially went to Europe to learn advanced Western cultural ideas,unexpectedly drew inspiration from the "Eastern Turn" of Western modernism's "reflection on modernity",forming their new artistic propositions.They were rooted in the home culture and familiar with the West,inheriting tradition and acting as pioneers,promoting modernism as well as traditional Chinese art and folk art.Taking Yi Feng magazine as their stronghold,they set out from the dual vision of "East-West cultural exchange" to reinterpret the East and reevaluate tradition,proposing a cultural salvation plan that was different from the past,a "modernist Chinese neo-traditionalism" or a "neo-traditionalist Chinese modernism".On the one hand,they introduced western modernist art,explored the relationship between Western modernist art and the spirit of Eastern traditional art,advocating that Chinese traditional art should break through its own cultural threshold in the "exchange" with modernist art and show its modern tension through the exchange and mutual learning of Eastern and Western cultures.On the other hand,they actively studied Chinese folk art,in order to change the opposition between "elegance" and "popular taste",to promote the transformation of Chinese art from unity to diversification,and to realize the modern transformation of Chinese art.At present,it is not only of academic value in the history of art thought,but also of theoretical significance in the history of cultural thought when we return to the intellectual scene of the exploration of the way out for Chinese art in the early 20th century and understand how Chinese culture and art can walk out a unique modernization road with Chinese characteristics in the context of globalization in the new era.

Key words: Yi Feng magazine, modern transformation of Chinese art, modern art, Eastern art, "East-West Cultural Exchange", neo-traditionalism