| Entering the 80's of the 20th century, with the reform and the opening of the society and the culture, the study of Chinese art history has been into a period mixing Chinese and the west together. The theories and methods of the Western art- historical study accepted by Chinese scholars rich the theories and methods of Chinese art-historical study and expend the space of study. It is another mixture of the idea and method after the change from the tradition to the modern in the field of Chinese art-historical study under the struggling and the mixture between China and the west born from the the ethos "the west learns east gradually" existing during the first period of 20th century. The study of Chinese art history become more multivariate, objective and richful.Ming's artist Tung Chi-chang is the most argumentative and the most representative person in the Chinese art-history study all over the world because of his experience, his theory of the Southern and the Northern Schools, his special style of painting focusing on the relationship between brush and Chinese link and his modern discrimination about Chinese art history. The study of Tung Chi-chang does not depend on the discovery of the history, but also depend on the knowledge of the art concept. Facing the same art phenomenon, different values results in different ideas because of different historic conception. However, how to establish the historic conception? It can only base on the study of historical facts. This is the relationship between historical study practice and historiography theory. To study the art needs this theory, and this theory can also direct the art study. Maybe this positive circle is the organic situations criticized by American famous historical artist Panofsky. In the organic situations, the study of art history enriches and expands gradually, and meanwhile the history and logic can be unified, the study of history and value judgment can also be unified in this organic situations. This is the supreme realm the essence of the art history study. In the former study of Tung Chi-chang, the weakness and deficiency is that in this aspect we can not enter the organic situations and cannot unify the history and logic, the study of history and value judgment. So, the problem about the methodology of Chinese art history study emerges.That the International Academic Conference on Tung Chi-chang has been held twice indicates (1989,1992) the literati orthodox and his idea about the Southern and the Northern Schools have been an advance position in the field of International art history. The study of Tung Chi-chang can show the study of the western art methodology in Chinese art history, display the different angles and findings in the study of art history and reflect the hot case in Chinese art- historical study.During the study of Tung Chi-chang in the 20's century, there are four great art historians: Teng Gu in the 30's of last century, Xue Yongnian in the late of the 20'scentury, Wen C. Fang ------ a foreign citizen of Chinese origin------ a scholar ofChinese art history study living in America, and Gao Juhan (James Cahill) studying Chinese are history for many years. These four art historians have all created systematically their own methods of studying Tung Chi-chang. When studying Tung Chi-chang , the art historians in and abroad adopt different methods according to their different academic requirements. In the process of studying, both Teng Gu and Fang Wen use the method of introversive idea, Gao Juhan (James Cahill) uses the method of extroveisive idea, while Xue Yongnian adopts the new synthetic method. To analyse these three significant methods can discuss Tung Chi-chang thoroughly and objectively, understand and use the methodology of art-historical study and expand the space of art-historical and academic insight. This is the purpose of writing the essay.The whole essay includes three parts:Chapter one: using the method of introversive idea to study Tung Chi-chang. The method of introversive idea is a method of art-historical study that emphasizes the reality of art and study the lingual structure and style of the works. Wolfflin's stylistic analysis is the base of its theory. Teng Gu in the 30's of last century and Wen C. Fang------a scholar of Chinese art history study living in America use their own introversiveidea to study Tung Chi-chang's the Southern and the Northern Schools and his painting styles from different cultural backgrounds and different angles.In the book Tang and Song's painting History written by Teng Gu in the 30's of the 20 century, Teng Gu focuses on the criticism of Tung Chi-chang and the Southern and the Northern Schools. He uses Wolfflin's method of introversive idea to study thelandscape paintings in the initial stage------ beginning with Wu and maturing at Li——in the thriving Tang dynasty, illustrates the change from Wu Daozi to Li Sixun and create "unrestrained favor" and "decorative favor" to point out that their relationship is not opposed but additional with each other. Teng Gu denies that Tung Chi-chang considers Wang Wei as the first one of the Southern and the Northern Schools because of his characteristic of "change the method of drawing the outline roughly and begin to wash a piece of drawing paper with water colors softly", criticizes that Tung Chi-chang divides the artists into academic style and literati style according to their identification, and points out that the different styles are decided by the pattern of life not their literati identifications. Because of different patterns of lives, the styles are divided to Yuanti and Gaodao. In Teng Gui' opinion, the art history depends on the development of style of the works, meanwhile he also seeks for the deeper power. He thinks "the emerging, developing and finishing of one style or finding out another style is caused by the power of its sources". And he divides the art history to "growing stage, mixing stage, blooming stage and stagnant stage ", summarizes the mixture between Chinese and foreign culture is good for the development of art and he considers the cultural communication as the power of the evolvement of the style.Teng Gu lives in a period of turmoil, and he is not able to appreciate the paintings as more as possible. Therefore, it's difficult for him to ues Wolfflin's stylistics emphasizing vision effect. Thus, Teng Gu's concept is in the period shifting from emphasizing artists to emphasizing a work of art. Teng Gu uses the method of introversive idea to study Chinese painting history. We can consider him as a founder of a religion in the study of the modernity of Chinese painting history, although he depends on the documents records.From the angle of the cultural comparision between China and the West. Fang wen uses the method of introversive idea to analysis that Tung Chi-chang inherits and develops the Chinese traditional calligraphic words and becomes a great master. Fang Wen analysises Tung Chi-chang in two aspects. First, developing the calligraphic words to abstract symbolic calligraphy painting words from recurrent calligraphic words. Second, in the construct of the landscape paintings, Tung Chi-chang mixes the three distant stereoscopic construct of the landscape paintings in Song dynasty and slablike decoration of Ming's paintings.In Fang Wen's opinion, Tung Chi-chang's view on the Southern School and the Northern School is the pedigree art history. Tung Chi-chang's theory of "imitation" and his idea about seeking for "realizing suddenly" are supported by the concept on the art history. Because of the characteristics of the Chinese calligraphic words, the ancient master's paintings do not only include the traces of artists' bodies but also include then mental traces as images of the mind just like human's genes. When the followings facsimile the masters' works, they can go staight into the heart and communicate with the masters' mentation by "realizing suddenly".Chapter Two: Gao Juhan uses the method of extroversive idea to study Tung Chi-chang. The method of extroversive idea considers the reasons of form of styles as the results of a certain kind of society according to the characteristics of styles. It uses external conditions just as the politic, economy, area and so on to study the evolvement of the style.Gao Juhan (James Cahill) belongs to the western school in the field of American Chinese painting history. His teacher is Luo Yue (Max Loehr) who is the master in stylistics. Gao Juhan (James Cahill) thinks that the method of introversive idea is limited and exclusive. He advances a new method that is to seek for the origin and influences of the form of art style, discuss the reasons of the development of the style and write the value of the style. Gao Juhan (James Cahill) thinks that in the book Blue Hats, Tung Chi-chang strongly expresses nondescript disturbed feelings which is a reveal of reasonless and disorder feelings in the late period of the society and also the deep doubt and interrogation of the late philosophy to the tradition. Gao Juhan (James Cahill) agree on Levenson's idea about the nonprofessional characteristics of bureaucratic literati paintings and develops it. He cites the classic definition of "play" which is given by the representative of new history Huizinga. He points out that the culture elites have a prejudice which is from the nonprofessionals against the art, because they are officials. This kind of nonprofessional characteristics decides the art style of these bureaucratic literati artists. This style emphasizes interest not likeness in form or appearance and it is called elegant art. Gao Juhan (James Cahill) thinks thatthese literati artists also have the trade function ------ "expect" and "request". However,it is a concealable trade. By exchanging, it can obtain not only money but also the benefits in politics.Chapter Three: Xue Yong nian uses the new synthetic method to study Tung Chi-chang. The new synthetic method is the synthesis and complementarity of the extroversive idea and the introversive idea. After the 80's of the 20th century, the extroversive idea and the introversive idea begin to combine closely. This method break some traditional idea in Chinese art history: Painting is like person, and it leads the sources of the meaning of the paintings from inner to outer, from individuals to society, therefore, it can help us to study the society of Chinese art and economic conditions. Chinese art-historical scholars living in the period of the social reform and cultural reform hardly carry out their study isolatedly and statically, and that they view questions from the angle of the function and the object which is different from the western scholars. Therefore, once the western methods are accepted by the Chinese scholars, they will be combined with actuality together and become a new method emphasizing extroversive idea. The method of introversive idea relating to the development and evolution of art style often become a part of synthetic method before it's completely carried out.Xue Yongnian analysises the background of the historical development of the styles of the literati painting in the late of Ming lengthways, and finds out the characteristics of Tung Chi-chang's art styles breadthwise. He understands Tung Chi-chang's painting styles using the axes—the aesthetic relations, and according to the reform of Chinese social reality, Xue Yongnian analyse reasonable and limitation of the appraisement of Tung Chi-chang in differern times and expresses an independent consciousness that is to introspect the history, surpass the tradition but not cut the relationship with the tradition, learn from the West but not give up the national tradition. During almost half hundred years study of Tung Chi-chang, according to reformation of Chinese art history, Xue Yongnian analyses rationality and limitation of the study of Tung Chi-chang in different times. Xue Yongnian considers the aesthetic relations as the axes, study the tendency of the national conscious and use the methodology of historical materialism and dialectic materialism to lead the method of studying argument from the history and using the argument to study history. He chooses the contrasting method to study the history lengthways and find out the differences breadthwise, masters the task of the art history and absorbs the synthetic methods of the related subjects. In the study of Tung Chi-chang, Xue thinks that the development of the aesthetic conscious of the officials in the late of Ming dynasty needs a kind of stylistics theory on the Southern and the Northern Schools, and that Tung Chi-chang exploits his particular advantages, develops and consummates the Southern and the Northern Schools according to the situation. In practice, Tung Chi-chang uses the calligraphic cultivation instead of the painting skills, uses the taste of ink instead of the rules of the construct. Learning from the nature and the ancients become the formal language of the aesthetic subject. So, Xue Yongnian thinks that Tung Chi-chang established a complete literati paintings language and value system for the artists in the 17century, make them do more pure study of art noumenon and lead a new way of colligating heritage of the ancient art for Orthodox School and Personality School in Qing dynasty.
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