Since The Republic Of Identification Methods And Concepts Of Ancient Paintings Of The Transformation

From documented acts of paintings and calligraphy identification in the Wei, Jin and Southern and Northern Dynasties, Chinese paintings and calligraphy identification has undergone thousands of years. Viewed from the identification methods of Chinese paintings and calligraphy, the identification theories of Chinese paintings and calligraphy and the relevant identification concept development, from the Wei, Jin and Southern and Northern Dynasties to the late Qing Dynasty, ancient calligraphy and paintings have been identified on the whole succession of traditional methods and concepts rather than innovation of methods and concepts, which is fully expressed in the identification theories of paintings and calligraphy in all dynasties. It was not until the Republic of China when the theoretical research methods and concepts were beginning to have signs of transformation. This was mostly due to the impact of the Western culture and thinking. However, such signs in the Republic of China were confined to a few paintings and calligraphy appraisers. Thus, the studies of identification methods and theories of calligraphy and paintings could hardly be proposed as a specific target. Therefore such studies failed to become some epidemic phenomenon of the time. It was from the 1950s and 1960s that paintings and calligraphy identification came into the people's vision as a separate category of academic research. The theoretical studies on paintings and calligraphy identification by Zhang Heng, Xie Zhiliu, XU Bangda and so on, developed all the brief introductions of skills of identification of paintings and calligraphy which randomly appeared in traditional calligraphy and paintings criticisms in the form of notes and impressions, with emphasis on intuitive grasp of the skills of calligraphy and painting identification, into a systematic and specific study of paintings and calligraphy identification applying the narrative styles of modern science and emphasizing scientific theories and methods. Painting appraisers highlighted their distinctive identification methods in constant research and academic debates, and thus formed a variety of the most influential contemporary paintings identification schools. After the opening of the market of works of art since the 1980s and the paintings identification disputes affected by the accompanying market economy, people reflected on the original identification methods and discussed them in-depth. They tried to build a new system of paintings and calligraphy identification and its theoretical research. The exploratory study hence on construction of "Study on paintings and Calligraphy Identification" from the view point of the modern discipline is the direction of the progressive realization of paintings identification practice and theory development and the whole concept of transformation.This paper presents the main stages and main characteristics of the development of paintings and calligraphy identification in various historical periods, namely:①the Republic of China - the budding transformation period of painting identification methods and concepts;②after 1950s and 1960s the identification of paintings transformation from powder introduction to the period of generalized study - the modern transformation of identification methods and concepts;③authoritative appraisers oriented paintings and calligraphy identification period;④conforming to relics auction market—the identification disputes period;⑤the period of in-depth study on paintings identification methodology;⑥the period of forming future independent disciplines. Based on the development and changes of identification practices and theoretical studies, the paper analyze in-depth the social and cultural background of such development and changes. The paper also looks into and infers their logical relations. Thus the paper proves the main argument that there does exist "Modern Transformation" of methods and concepts of Chinese paintings and calligraphy identification. The paper proposes a preliminary outlook of the direction of the future transformation of Chinese paintings and calligraphy identification.