Teng Gu And Tong Shu Ye: Two Academic Paradigm Of Chinese Art History Research

This article based on Teng Gu and Tong Shu Ye's academic background as a starting point,from logical sequence of thought(the concepts,propositions and forms of classification),exploring the process of explored their academic paradigm and detailed description it.Reveal their specific ideas on different issues in art history and the inner connection between them.In the first chapter,mainly discusses the modern transformation of Chinese art history research and academic paradigm.From the“Sorting out National Cultural Heritage”campaign and modern transformation of the study of art history and two academic paradigms established.From these two aspects identified origin of two academic paradigms,and their specific academic background and their academic practice investigated the correlation between the two academic paradigms.In the second chapter,exploring them on the core concepts of Chinese art history academic history study and interpretation of modernity about “Engender a Sense of Movement through Spirit Consonance”,expounding the“Engender a Sense of Movement through Spirit Consonance”under the paradigm of Teng Gu's “rhythm of life and emotion”and under the paradigm of Tong Shu Ye's “The variation writing brush and the method of the use of ink and water”.In the Chapter three,surveying their critical reflection and creative transformation on the traditional Chinese art history about“Theory of Southern&Northern Sects”.In the clear of“Theory of Southern&Northern Sects”on the Literati Painting movement in the paradigm of Teng Gu,and used“imperial-court decorative painting”and“literati painting”to change its ways,and Tong Shu Ye's “Classification of painters”,using“Nanhua”to change its ways.In chapter fourth,explored their investigation and reflection of periodization of the history of Chinese art about“the heyday of Tang and Song dynasties”.Clear the“heyday of Tang and Song dynasties“a reflection of modernity in the paradigm of Teng Gu was from the perspective of style,and in the paradigm of Tong Shu Ye was from the academic thoughts development perspective.In conclusion,through the overall grooming above four chapters,make it clear that in20 th Century Modern Transformation of Chinese art history research,there are two kinds of research paradigm,hoping to provide reference for the study of modern art history.