本文選題：鄭午昌 + 中國(guó)畫學(xué)全史��； 參考：《南京藝術(shù)學(xué)院》2013年博士論文

【摘要】：本課題是對(duì)鄭午昌《中國(guó)畫學(xué)全史》的整體研究，兼及民國(guó)時(shí)期繪畫史撰寫的考察。通過(guò)對(duì)鄭午昌《中國(guó)畫學(xué)全史》的意義與價(jià)值探究，進(jìn)而分析其所體現(xiàn)民國(guó)美術(shù)史的轉(zhuǎn)型狀態(tài)及其相關(guān)撰寫問(wèn)題。鄭午昌史學(xué)研究的最大貢獻(xiàn)就是在史學(xué)研究的轉(zhuǎn)型時(shí)期，在史學(xué)界詆毀傳統(tǒng)成為風(fēng)氣的時(shí)空下，依然堅(jiān)守傳統(tǒng)學(xué)術(shù)之道，努力保全傳統(tǒng)文化的自身價(jià)值，并試圖找尋學(xué)術(shù)振興的突破口�！吨袊�(guó)畫學(xué)全史》一書的亮點(diǎn)是以中國(guó)文化本位為切入點(diǎn)，直楔中國(guó)畫學(xué)的內(nèi)部進(jìn)行撰寫。該書綱舉目張、條分縷析，內(nèi)容按編、章、節(jié)進(jìn)行敘述，這與古代編年、紀(jì)傳、紀(jì)事本末諸種不同。其撰寫既契合了近代“新史學(xué)”的編纂要求，又體現(xiàn)了鄭午昌堅(jiān)持中國(guó)傳統(tǒng)繪畫史學(xué)文獻(xiàn)的學(xué)術(shù)思想。該書以一個(gè)畫家多年的實(shí)踐經(jīng)驗(yàn)直指繪畫史編寫要旨，把對(duì)于繪畫史的演變及繪畫形態(tài)的發(fā)展變化的闡述，置于中國(guó)文化環(huán)境的時(shí)空背景之下，并以其史學(xué)與繪畫修養(yǎng)上的雙重功力，直指中國(guó)畫學(xué)本體的內(nèi)部，顯示出傳統(tǒng)學(xué)術(shù)的力量與價(jià)值。 另外，本文力求在當(dāng)今語(yǔ)境基礎(chǔ)上，對(duì)《中國(guó)畫學(xué)全史》諸如對(duì)四大分期、史料運(yùn)用、通史體例及其研究方法等問(wèn)題進(jìn)行思辨。對(duì)民國(guó)時(shí)期中國(guó)繪畫史的撰寫狀況進(jìn)行梳理，并結(jié)合當(dāng)時(shí)的政治、經(jīng)濟(jì)等歷史背景，解讀相關(guān)中國(guó)美術(shù)史寫作模式，同時(shí)找出該著在近代中國(guó)畫學(xué)史研究的價(jià)值及局限所在。并且通過(guò)對(duì)該書的研究，，希冀把民國(guó)（1912-1949）時(shí)期美術(shù)史的撰寫的特點(diǎn)揭示出來(lái)，同時(shí)通過(guò)對(duì)這一問(wèn)題的深度思考、理性研究以及總體把握，進(jìn)而尋找到契合于繪畫史撰寫的最佳思路，以期能對(duì)當(dāng)下以及未來(lái)中國(guó)繪畫史學(xué)的撰寫有所啟示。
[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.
【學(xué)位授予單位】：南京藝術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J209.2

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