Facing the impact of the left-wing literature,Kuomintang lauched literature and art policy of Three People’s Principles in 1929.However,the policy failed owing to poor theories and organization,in conjunction with boycott of left-wing writers and liberal scholars.In 1930,to coordinate with the faction between Chiang Kai-shek and Hu han-min,and fighting for the control power with the propaganda department controlled by western hill conference faction,organizational department controlled by Central Club slammed left-wing literature while preaching fascism under the banner of nationalist literature and art.The movement of nationalist literature and art had huge influence at birth.However,it suffered grave setbacks owing to lax organization and continuing internal conflicts.Promoting by propaganda meeting for literature and art in 1934,coordinating with the adjustment of propaganda strategy,the movement of nationalist literature and art rallied gradually.Its recovery and revival stimulated the direction changing of left-wing literary circles somehow and prepared for the rise of anti-Japanese war litera-ture.However,its strong courtliness has been criticised by people.%1929年，面对左翼文学的冲击，国民党推出了三民主义文艺政策。但因为理论贫乏、组织不力，不久便在左翼作家和自由派文人的抵制下败下阵来。1930年，为配合蒋介石与胡汉民之党争，同时也旨在与西山会议派控制的中央宣传部争夺话语权，CC派把持的中央组织部又揭%了民族主义文艺旗号，一方面抨击左翼文学，一方面鼓吹法西斯主义。民族主义文艺运动在发起之初一度颇具声势，然因自身组织涣散和持续内讧，亦很快遭遇重挫。在1934年文艺宣传会议的推动下，兼之宣传策略的调整，民族主义文艺运动逐渐重振旗鼓。其复苏与再起，对左翼文坛的转向或不无刺激，同时也为抗战文学的兴起做了一定铺垫，但其浓厚的御用性质却始终为人诟病。
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