转型与守护—郑午昌《中国画学全史》研究

发布时间：2018-04-29 19:58

本文选题：郑午昌 + 中国画学全史　；参考：《南京艺术学院》2013年博士论文

【摘要】：本课题是对郑午昌《中国画学全史》的整体研究，兼及民国时期绘画史撰写的考察。通过对郑午昌《中国画学全史》的意义与价值探究，进而分析其所体现民国美术史的转型状态及其相关撰写问题。郑午昌史学研究的最大贡献就是在史学研究的转型时期，在史学界诋毁传统成为风气的时空下，依然坚守传统学术之道，努力保全传统文化的自身价值，并试图找寻学术振兴的突破口。《中国画学全史》一书的亮点是以中国文化本位为切入点，直楔中国画学的内部进行撰写。该书纲举目张、条分缕析，内容按编、章、节进行叙述，这与古代编年、纪传、纪事本末诸种不同。其撰写既契合了近代“新史学”的编纂要求，又体现了郑午昌坚持中国传统绘画史学文献的学术思想。该书以一个画家多年的实践经验直指绘画史编写要旨，把对于绘画史的演变及绘画形态的发展变化的阐述，置于中国文化环境的时空背景之下，并以其史学与绘画修养上的双重功力，直指中国画学本体的内部，显示出传统学术的力量与价值。另外，本文力求在当今语境基础上，对《中国画学全史》诸如对四大分期、史料运用、通史体例及其研究方法等问题进行思辨。对民国时期中国绘画史的撰写状况进行梳理，并结合当时的政治、经济等历史背景，解读相关中国美术史写作模式，同时找出该著在近代中国画学史研究的价值及局限所在。并且通过对该书的研究，，希冀把民国（1912-1949）时期美术史的撰写的特点揭示出来，同时通过对这一问题的深度思考、理性研究以及总体把握，进而寻找到契合于绘画史撰写的最佳思路，以期能对当下以及未来中国绘画史学的撰写有所启示。
[Abstract]:This subject is the whole study of Zheng Wuchang's the whole History of Chinese painting, and also the investigation of painting history writing during the Republic of China. This paper probes into the significance and value of Zheng Wuchang's the whole History of Chinese painting, and then analyzes the transition state of the art history of the Republic of China and its related writing problems. Zheng's greatest contribution to the study of historiography was that during the transitional period of the study of historiography, under the time and space of history circles' slander of tradition as a general trend, he still adhered to the traditional academic way and tried to preserve the value of traditional culture. The highlight of the book is to take the Chinese culture as the starting point and write the Chinese painting in the interior. The contents of the book are described by editing, chapter and section, which are different from those of ancient chronicles, biographies and chronicles. His writing not only accords with the compilation requirements of modern "New historiography", but also embodies Zheng's academic thought of adhering to the literature of Chinese traditional painting historiography. The book, based on the practical experience of a painter for many years, points directly to the writing of the history of painting, putting the elaboration of the evolution of the history of painting and the development and change of the form of painting under the space-time background of the Chinese cultural environment. With its dual power of historiography and painting cultivation, it points directly to the interior of the ontology of Chinese painting and shows the strength and value of traditional learning. In addition, on the basis of the present context, this paper tries to think about the four stages, the application of historical materials, the general style of history and the research methods of the whole History of Chinese painting. Combing the writing situation of Chinese painting history in the period of the Republic of China, combining the political, economic and other historical background of that time, this paper interprets the relevant writing mode of Chinese art history, and finds out the value and limitation of this work in the study of the history of Chinese painting in modern times. And through the study of the book, I hope to reveal the characteristics of the writing of art history in the period of the Republic of China (1912-1949), and at the same time, through the deep thinking, rational research and overall grasp of this problem, Then we find the best way to write the history of painting in order to enlighten the writing of the history of Chinese painting in the present and the future.
【学位授予单位】：南京艺术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209.2

【参考文献】