Research On The Space Problem In Wu Hong’s Theory Of Chinese Art History

Overseas Sinologist Wu Hong "spatial turn" in art history trend seen space method to analyze the potential of the Chinese art history,on the basis of a summary of a case study of Chinese arts,pay attention to the space in the "image analysis","objects and significance of visual analysis","complex integrated arts body analysis" of purpose,in order to the concept of "space" in the study of art history status to the level of the "image" and "form".He develops a new interpretive framework by emphasizing "space",aiming to explore the methodological potential of the concept of space in artistic analysis on the basis of rethinking the traditional research paradigm.Wu Hong’s space research method is full of originality.The author divides the paper into five chapters,and on the basis of case study,forms a multi-angle thinking on the problem of "space" in his theory of Chinese art history,comments on his methodology of "space" and discusses its applicability.Chapter one is the choice of Wu Hong’s spatial perspective in the study of Chinese art history.In the past 20 to 30 years,the study of art history has shifted from linear art history to spatial art history reconstruction of specific historical situations.In this academic environment,Wu Hong came up with the idea of taking space as the entry point and raising it to the level of methodology to study Chinese art history.In the west,other overseas sinologists have multiple perspectives on the study of art history,but they did not raise the space to the level of methodology before Wu Hong.In China,there are many kinds of ancient art related to the concept of space,such as the "management position" of ancient Chinese painting and the "combination" and "arrangement" of calligraphy,but no systematic spatial methodology has been formed.Although Wu Hong’s works are more or less related to the concept of "space",it was not until 2018 that the art history of "space" focused on "space" as a method of studying the history of Chinese art.Therefore,Wu Hong’s choice of spatial perspective on the study of Chinese art history is forward-looking.Chapter two,image space.This chapter mainly involves the spatial analysis of Wu Hong at the level of image,that is,two-dimensional plane.This paper discusses the function and significance of screen in painting space in combination with Wu Hong’s early work "double screen".On the basis of previous studies,Wu Hong broke the boundary between screen as object and image and established the research framework of Chinese painting history combining "inside" and "outside",which is an innovation of the research method of Chinese art history.In addition,Wu Hong used the western spatial analysis method to analyze the actual works of China,and explored a spatial research method suitable for analyzing the nonlinear perspective of Chinese portrait art.This spatial research method extracted from the perspective of "visual space" has a more scientific and more localized view on the study of Chinese portrait art.Finally,the space boundary threshold in Wu Hong imagology has symbolic significance,in which the spatial analysis method can distinguish the authenticity of the text on the image on the basis of scientific analysis,making the application of space on the image more extensive.Chapter three,object space.In this chapter,Wu Hong expands the focus from two-dimensional images to three-dimensional objects.At this level,the space starts to have relations with buildings and people,and explores and analyzes the dialectical relationship between the internal space and the external space of the container,as well as the expression effect and cultural connotation carried by the spatial relationship.Taking bronze mirror,chair and other special objects as examples,this paper analyzes the relationship between the physical property and the subject in specific space and the way of presenting this relationship.In the discussion on the space of utensils,Wu Hong sometimes drew conclusions based on previous research experience,and did not discuss the analysis of utensils at the theoretical level.Chapter four,total space.In this chapter,Wu Hong expands his focus to the level of four-dimensional temporal space.In the concept of "total space",Wu Hong stresses the importance of "original environment".Tomb art and dunhuang art,for example,Wu Hong’s theory of "overall space" to see the space at the material level and the potential of human consciousness,his space research methods emphasize to the attention of the interdisciplinary knowledge,pays attention to under the environment of the whole research,comparative study on the method of graphic space and implements the space,theory of the overall space Wu Hong relatively mature system.However,the extensiveness of the spatial concept itself also leads to the difficulty in grasping its methodology.Chapter five,the study of art history towards spatial method.Wu Hong’s spatial methodology is a progressive summary from the micro to the middle and then to the macro,which is suitable for different levels of spatial analysis.This chapter mainly discusses the applicability of Wu Hong’s spatial methodology,with the spatial hierarchy analysis in female subject paintings as the focus of discussion,and tries to find out the possibility of its artistic research in more fields.It is undeniable that Wu Hong’s exploration of space methodology is a creative exploration journey of Chinese art history.To sum up,the spatial method of Wu Hong’s theory of Chinese art history is a new way of studying art history in recent years.This remains to be discovered by researchers.