A Study Of Micro-Narrative In Mi Fu's Artistic Writings

The two major narrative styles of Chinese art history reached maturity in the Tang and Song Dynasties: one is the general history of art borrowed from the official history,and the other is the private art notes derived from the unofficial history of supernatural stories.Since the Song Dynasty and beyond,the art notes that are known for their personal knowledge and micro-narrative,both in quantity and academic influence,far exceed the general history of art that reflects the grand historical narrative consciousness.Therefore,to survey the phenomenon,reason and value of the rise of art history micro-narrative through author and text case is an important angle to reexamine traditional art history.As a writer,Mi Fu not only participated in the compilation of the official general history of art,but also famous in history for his free,changeable and original five notebooks.Through the investigation of his life and writings,the thesis believes that Mi Fu considered the writing style of art writing and the narrative object in the study of art history on the basis of the art writings before Song Dynasty.Thus abandoning the macroscopic "narrative history" appraisal style with dynasty as the category and artist as the center,then gradually constructing a "narrative" mode centered on art works.The reason why Mi Fu pays attention to and focuses on the works of art that he has seen and experienced is due to his realistic considerations.In his opinion,the tradition of art history has developed to the Northern Song Dynasty.First,the writing style of "distributing theory according to history" is "deceiving posterity";second,the artistic thesis of Jin and Tang dynasties has fallen behind the theoretical height of literati in Song Dynasty.And aesthetic requirements.The way he solves the problem is to focus on the micro-narrative of the specific problems of the art work he sees,including form,content,appearance,technique,discrimination,circulation and collection,etc.,and then brings three aspects of narrative turn: the purpose shift is from the artist as the center to the artwork as the center,the content shift is from writing for the artist to the tasting activities of the artwork itself,and the language shift is from literary language to documentary language.At the same time,Mi Fu inherited the core themes of art history theory since the Jin and Tang Dynasties,and reconstructed the three themes with a personal and micro narrative approach.Mi Fu's pursuit of ancient techniques is essentially an exploration of artistic tradition and its historical context;his appreciation of the authenticity of wonderful things is the judgment of the aesthetic meaning of the work of art;his preferences and remarks about things that are clean and playful are the implementation of the spirit of the artist's individual life.Mi Fu's insights on the art topics of the Jin and Tang dynasties gave new connotations and theoretical dimensions to each topic,which was inherited and groundbreaking.Mi Fu's micro-narrative model is not only a new development in the tradition of art history theory in the Tang and Song Dynasties,but also became the main historical method used by art writers of the Yuan,Ming and Qing Dynasties in the continuous enrichment and enrichment of the period and later generations.The discussion of the themes of art in the Jin and Tang dynasties has become an important argument influencing the artistic values of ancient Chinese literati.