Upon The Narrative Patterns Of Academic Writings Of Chinese Painting History During The Republic Of China Between 1912 & 1949

This dissertation considers as its research target the academic writings of Chinese painting history written during the Republic of China between 1912 and 1949. From the perspective of narrative patterns, it attempts to provide a new classification, systematization and academic analysis for major patterns in the narration of Chinese painting history. It can be revealed that what kind of the patterns the painting historians during the Republic of China had made use of in order to describe the history in the background of Chinese and Western cultural conflicts and the paradigm change of academic research.Between 1912 and 1949, the science of Chinese painting history was greatly influenced by the viewpoints of evolution theory and Marxist materialism. The acceptance of new theory gave some new reference frame for the period dividing of painting history. The three types of period dividing based on the dividing in historical narration, the painting itself and the influence of social background revealed the knowledge structure, aesthetic viewpoints and narrative techniques of those painting historians. When the painting historians during the Republic of China explored the law of painting history development and wrote the history, they had chosen such threads as formal style analysis, ideology presupposition, introduction of the painters and the influences of social background. By so doing, they had reproduced the painting history development.Owing to different historical viewpoints, period dividing and threads, the painting historians began to rearrange in the structure of their writings the painters, the paintings, the painting theory and social background. On the basis of developing the useful and discarding the useless of narrative patterns in traditional Chinese history and Western history writings, the painting historians adopted the writing formats of painting review and the painting classification and synthetic compilation to rearrange the phenomena in the painting history.The author has established his own research paradigm from the logical perspective of theoretical viewpoints, period dividing, narrative threads, narrative patterns and narrative formats. Different theoretical viewpoints determine different narrative patterns and period dividing, different threads lead to different narrative patterns, different narrative patterns reflect different viewpoints, and different writing formats indicate the conditional relationship between the viewpoints and the patterns.This dissertation focuses on the narrative patterns to summarize and analyze the academic achievements made in the field of the science of Chinese painting history during the Republic of China. The author holds that it is beneficial to the systemization of the academic achievements, exploration of the laws of painting history development and the research on painting history at present and in future.