Native Depiction at the Crossroads—On the Practical Learning Tradition of Chinese Art History  

Abstract: From the perspective of the global art history, the development of Chinese art history as a modern discipline attributes not only to its western models but also to the increasing intervention of the practical learning tradition in the field of Chinese art research since the 18th and 19th centuries. Generally speaking, the history of traditional Chinese painting is subordinate to the“Study of the Scholars” in Chinese academic history, which embodies the tradition of “seeking relaxation and enjoyment in the six arts” and had rarely been studied seriously before the 20th century. The North-South-Sect Theory that boasts to be “a combination of the great achievements (in Chinese art historical studies)” is a prominent manifestation of this tradition. However, the Chinese art history is also a subordinate part of Confucian classics and historical studies, which is in line with the textology of the Qing Dynasty that has brought about a brand-new understanding to the art history. The calligraphy theory primarily established by Ruan Yuan embodies this precious practical learning tradition in the history of traditional Chinese art. Probably it was the influence and inspiration of the North-South School of Calligraphy that prompted scholars in the late Qing Dynasty to re-examine the North-South Sect Theory and finally led to the vigorous “Art Revolution” in the history of modern China. Besides, it is now widely accepted that the theory of the North South School of Calligraphy and its related doctrines also reflect its contemporary mainstream cognition in academic circles about the reconciliation between the Han and Song studies as well as the historiography of Confucian classics, which has in turn taken the history of traditional Chinese art into the macro-system of modern Chinese historical studies. Last but not the least, research findings from this perspective may help understand the stimulation and enlightenment of the Chinese traditional “art(istic)” history upon the orthodox studies of Confucian classics and history.

Key words: art history; calligraphy theory; Confucian classics; historiography;globalization