Dialogue, Reconciliation And Possible Realization

The development of the discipline of art history today has sufficiently varied from:the time debating on "whether art history had come to an end or not",the time when a large number of "interdisciplinary research methods" were applied,or even:the time when everyone was interested in case studies and focusing on exploring:new research objects and materials two decades ago.In the context of a brand new global perspective of art history,this paper aims to gain insight into what conditions and opportunities this environment provides for the re-writing of Chinese art history.First of all,by reviewing the writings with comparative power of discourse and high propagation in the global scope,as well as the intergenerational characteristics and mutual influence of writing ideas,the author analyzes the parts with accumulation and important development.Then,it is necessary to trace back to the overall pursuit of Chinese art in the relatively closed ancient times,and to provide the most critical supplement to the globalized writing from local:experience.The first is the selection of the core art form,that is,the art of calligraphy and painting;the second is the study of the aesthetic concept of space inancient Chinese painting and calligraphy,and the knowledge of painting and calligraphy appraisal.Then,from the perspective of comparative study,theunderlying logic of the overall narrative of Chinese art history is found,that is,priority should be given to the research on the history of ancient Chinesecalligraphy.And the historical narrative of all Chinese art forms including paintingshould be established on the dynastic evolution of calligraphy styles.Only in thisway can we come close to the goal of "writing a Chinese art history that isconsistent both inside and outside,within the norms of modern scientific research".