| As a methodology of art history study,art stylistics was constructed by Alois Riegl and developed and perfected by Heinrich Wolfflin.Its universality and effectiveness have been effectively confirmed in the Western art history.In the late 19th century and the beginning of 20th century,with the influence of Western learning trend,the writing method of Chinese art history has also experienced a series of changes and innovations,which has opened a new research angle of exploring the subject of art history.Art stylistics argues that the development of art is driven by its internal artistic will,while the territory,the succession of dynasties,the image theme and other factors are external and can only influence it.This kind of scientific art history research method has the universal value,which can find basis in the West.In terms of Chinese art history,the same development rule can also be found.Teng Gu once studied in Japan and Germany.As a doctor of art history,he has a thorough knowledge about both Chinese and Western art,and in Chinese art history he is the first scholar to introduce art stylistics into the study of Chinese art history.The new stylistic writing method adopted by Teng Gu has the pioneering academic value in the contemporary study of Chinese art history and has a profound influence and important enlightenment to the later modern art history research.However,because the Chinese and Western cultural backgrounds and historical environments have great differences,many scholars have also questioned the adoption of Western methodology into Chinese art history and thought it is inappropriate.In the analysis of Teng Gu’s works,it is also found that stylistic viewpoint is embodied in the division of art history period,but it is difficult to break away from the narration of Notes of Past Famous Paintings in the actual content.The innovation of this paper is that,from the two aspects in a contradiction of artistic will in art stylistics,which promote the development of art in mutual transformation,combining with Chinese cultural context and philosophy,referring to the development track and law of Chinese art history,based on the division of Teng Gu’s art history,this paper puts forward the criticism and suggestion on the writing of Teng Gu’s art style.The author believes that Teng Gu’s division and exposition of ancient Chinese art history are based on the change of ideology.From the perspective of stylistic form,artistic will is vivid in Chinese art history;The alternation of explicit contradiction between vision and touch put forward by Riegl,is the checks and balances between the two forces,which focus on form and spirit respectively;Wolflin proposed the formal representation of line drawing and graphic drawing,corresponding to two style features,namely line and color.He suggested that the development and period division of ancient Chinese art history should be reexamined from this standpoint.From combing the standpoint of artistic stylistics,exploring the commonness of Riegl and Wolflin in the writing of art history to comparing and analyzing the difference and value of the research on the history of Chinese art between Tenggu and the contemporary artists,and focusing on the exploration of stylistic elements in the History of Chinese Fine Arts and the History of Painting in the Tang and Song Dynasties,the papers draws inspiration from it and tries to put forward some suggestions on the context transformation of Chinese ancient art history from the angle of stylistics form,which is expected to promote the discussion and criticism of the application of art stylistics in Chinese art history. |
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