The Way Of Seeing: The History Of Art As The History Of Spirit

Using the contemporary famous scholar Jao Tsung-i's study of the history of Chinese classic art as the research object, through the study of Jao Tsung-i's study of the history of art, this paper tries to show how the 20th century last general talented Confucius viewed the process of the ocurrence and development of Chinese classical art from the viewpoints of the history of culture, and assess the practical use and theoritical meanings of Jao Tsung-i's research methods of the history of culture. The formation of the academic thoughts of Jao Tsung-i is due to the tradition of Textology he inherited and the latter half of 20th century's academic environment of frequent communication between him and the western sinologist. Starting from the upper standpoint, the paper consists of the following parts: starting from the "pre-understanding" of the research object, the first chaper introduces the resourses of Jao Tsung-i's academic and art, focusing on the formation of Jao Tsung-i's academic thoughts and taste of scholarship and aesthetics , with certain description on the corelation between his academics and art. The second chapter introduces how Jao Tsung-I study the resourses of the style and spirit of classic art in the bachground of Chinese modern archeology, aiming at the study of archeology of art in the first half of the 20th century ingored by researchers in the study of the history of arts, showing how the Chu culture had standadised and affected its descedant art to certain degree. The third chapter displays the thoughts status that the artists and trends of cultural thoughts affected each other and co-existed in Yuan and Ming dynasty, through introducing the artists such as Huang Gongwang, Badashanren and Gongxian, etc. the chapter's aim is to point out the dynamic expressing process how the cultural spirit of a junction of Three types of religious thought and the subjects of arts affected each other in Yuan and Ming period, and think critically about the previous static studies of wenrenhua in aesthetic form. The fourth chapter introduces how Jao Tsung-I studied integrately Chinese classic paintings and other resourses of Humanities fields under the broad integration vision, and drew an original conclusion, focusing on the neccessity and possibilty of cross-fields studies of the history of arts. The fifth chapter pointed out Jao Tsung-I's new empirical methods in the history of art, through previewing the viewpoints and methods have been used in the sdudies of the history of arts by Chinese scholars since the 20th century. The last chapter emphasizes the meanings of Jao's study of the history of art by explaining his research modality of "the history of art as the history of spirit", and taking into account the current status in the studing of art history. Since the 20th century, from the Chinese modern academic disciplines construction and research methods, all over the West in modern academic discourse color; and since the late 20th century, post-modernism promoted by forgotten the subject of the art, wavering the meaning of the text , deleberately ignored the Context of the text producing, especially attacking the continuity of history and one of the whole of human knowledge, these caused a great deal of shock in Chinese thinking of academics and research methods. But Jao Tsung-i's study of art history gives a lot of inspiration and a warning by using cultural history vision, taking empirical approach methods,and insist on the research ideas that closely linked the interpretation and understanding of traditional art and culture of China's own production and development. Of course, researchers and research subjects because of their "foresight," leading to the unavoidable historic limitations in understanding of history, for this reason, the research conclusions of Jao's study and our study about Jao's study should be open, not be unique.