A Study Of Teng Gu's Historiography Of Chinese Painting History During The Republic Of China Between 1912 And 1949

Historiography can be traced back to a long time ago in traditional Chinese culture. However, the study of historiography and its history in the sense of modern academic research, that is, a systematic study of them from the conception and the methodology, etc, came into existence only when the Western and Chinese cultures began to exchange and conflict with each other in the modern times. As a branch of the study of history of the historiography, the history of the historiography of Chinese painting history came into being in China not long time ago. So far the relevant academic papers and books have been seldom published. The papers and books on the history of the historiography of Chinese painting history between 1912 and 1949 are even fewer.As a well-known scholar and art historian who has a good command of the Western and Chinese learning and modern academic consciousness, Teng Gu has had his overseas studies in Japan and Germany. It is he who firstly introduces the research approaches of modern Western art history to China. Though his life is short, yet he focuses his research on the art history and art archaeology and is one of the leading scholars in the transformation of modern Chinese culture. However, no study of his historiography is given. Fortunately, a number of scholars have begun to study it recently and some research papers have been published. But these papers are unsystematic & simply introductive and the theoretical & methodological studies are seldom given. The dissertation attempts to provide a profound study of Teng Gu, his thought of painting history and research approaches characterized by "German Pattern" between 1912 and 1949 in order to have some objective and systematic introduction and enlightenment to the historiography of Chinese painting history during the afore-mentioned period."German Pattern" appearing in the dissertation refers to a kind of academic and cultural pattern commonly applicable to those German countries such as Germany, Switzerland and Austria. In the field of art history it is manifested as some kind of art history research conception and methodology that has some scientific, philosophical, argumentative and aesthetical sense. For the convenience of narration, the pattern firstly appearing in those German countries is named as "German Pattern" while the one firstly appearing in Japan is named as "Japan Pattern" which also exists in the dissertation.The dissertation takes the historiography of Chinese painting history between 1912 and 1949 as its background and Teng Gu and his thought and methodology as its focus and cut-in point, that is, to integrate Teng Gu's historiography of Chinese...