In the historical development of the 20th century, the study of art history gradually began to be subject-oriented, with the overall advancement of humanities research, showing a faster development than before, which was unprecedented after the 1980s.
For the development of art and history, historians constantly put forward the relationship between historical research and creation. Its main purpose is to hope that those painters who don't pay attention to historical theory pay attention to the works of historical theory, on the one hand, to promote contemporary artistic creation, on the other hand, to promote the research of historical theory, so as to establish the position of historical theory in the art world.
Although this narrative is a bit passive for historians, it is a basic fact and a necessary stage for the development of this discipline. It embodies the China characteristics of this discipline.
The relationship between China's research and creation of art history in the 20th century can be simply summarized into two aspects: seeking the basis of historical theory; I hope the historical theory will support it.
The study of art history theory has influenced and promoted artistic creation.
The social and historical development of China in the 20th century is different from any period in history in its particularity and complexity. If we study any of these cultural topics, we must contact these special and complex background, otherwise it will be difficult to explain the problem. This background is reflected in any cultural issue, and there are roughly the same historical materials and viewpoints. Under this historical background, the study of China art history in the 20th century basically showed a historical track synchronized with the times, and even cooperated with the historical development process to some extent. The study of art history theory has influenced and promoted artistic creation and has become a cultural development phenomenon in the 20th century.
1, the study of art history theory has influenced the thinking of artistic creation.
In the period of social unrest (war) in the 20th century, the theoretical study of art history often decided the content of the study based on the trend of social thoughts, so as to meet the needs of society, and highlighted its social function as a whole, showing the deviation of cultural function. During the May 4th Movement, "Kongjiadian" and "Four Heavenly Kings" were overthrown. The artistic criticism from Kang Youwei, Chen Duxiu to Lu Xun influenced many people's cognition of traditional art at that time, and inspired the ideological trend of reforming Chinese painting. After 1949, the research of painting monks such as Shi Tao, Ba Da, and "Eight Eccentrics of Yangzhou" paid special attention to their innovative spirit of rebelling against retro ideas, which not only became the historical basis of Chinese painting reform in the 20th century, but also echoed the innovative movement of Chinese painting in a period. The study of Shi Tao's painting quotations shows that researchers are looking for theoretical basis from realistic needs in each period, and shows the internal relationship between historical research and artistic creation. For example, in the early 1960s, in the creation of "New Landscape Painting", Fu Baoshi proposed that "pen and ink should follow the times" through "Shi Tao's painting quotations"; In the 1990s, in order to resist the conservative forces of Chinese painting, Wu Guanzhong also put forward that "pen and ink are equal to zero" through Shi Tao's Quotations on Painting.
Under the realistic requirements of nationalization, the systematic investigation and study of Dunhuang and Maijishan Grottoes in 1950s was a model of the combination of art history research and artistic creation. At the same time, it demonstrates the inevitability of nationalization of oil painting, sculpture and printmaking with the achievements of national art under the requirements of the times.
2. The study of art history has an influence on the theme of art creation.
During the period of War of Resistance against Japanese Aggression, in the fierce national struggle, art historians devoted themselves to studying patriots in history, among which Fu Baoshi's Biography of National Artists in China in the Late Ming Dynasty was used to stimulate the anti-Japanese enthusiasm of China people. These specific studies are embodied in the theme of artistic creation. There are many sages with national integrity such as Qu Yuan and Su Wu in Fu Baoshi's paintings. In the revolutionary fine arts in Yan 'an period and the New Year pictures creation movement in 1950s, the arrangement and research of traditional New Year pictures directly influenced the printmaking and New Year pictures creation at that time, and a new "doll play" and a new "door god" appeared.
3. The study of art history theory promotes the change of the style of art works.
Many people, including Xu Beihong, have discussed the integration of Chinese and western cultures, which has become the ideological basis for the integration of Chinese painting and western France. Under the guidance of this idea, many painters have devoted themselves to the experiment of the integration of Chinese and western paintings, drawing the shadows of people's faces with the sketch method of western paintings, applying the aesthetic way of western paintings to landscape paintings, and so on, which has given Chinese paintings a new style. However, the research, propaganda and introduction of Soviet literary theory in the past 50 years have promoted the wide application of realistic creative methods in artistic creation, leading to the change of the overall style of artistic creation in a period. During this period, the study of traditional printmaking also promoted the integration of Yan 'an printmaking style and traditional printmaking style, formed the reference of German printmaking since Yan 'an, and made watermark woodcut widely popular.
The criticism of western formalism and various schools in 1950s led to the simplification of artistic style.
From the late 1950s to the early 1960s, the discussion about nationalization made the "national style" of oil painting become the temporary mainstream.
The re-evaluation of the "Four Heavenly Kings" and Zhao Mengfu in 1980s has echoed the trend of returning to tradition in the field of Chinese painting and influenced the popular style of "New literati paintings".
Of course, there are many reasons for the change of style, not necessarily "theory first", but the echo of historical theory research is an essential link.
Art historians and painters constantly change their identities.
During the development of China fine arts in the 20th century, art historians and artists often changed their identities, which may reflect the tradition of China fine arts. Among them, there are several different situations:
One is dual identity. That is, art historians and painters, or painters and art historians, there are many people in this part, especially in the field of Chinese painting, such as Huang, Pan Tianshou, Fu Baoshi, Xie, ... Oil painting circles such as Liu Haisu, Xu Beihong, Ai Zhongxin, Wu Guanzhong, Han Zhong, ... Printmaking circles such as Jiang Feng, Wang Qi, ...; Chen Zhifo, Deng Bai, Luo Shuzi, etc. Some of these people have outstanding achievements in both aspects, and some achievements are biased towards one of them.
One is the change of identity. First as a painter or sculptor, then as a professional art historian; Or he used to be an art historian and later became a professional painter. The former, such as Wang Ziyun, who studied sculpture in France, later specialized in the history of sculpture in China; The latter, like Fu Baoshi who studied history in Japan, later became a professional painter in China. Sculptor Wang Chaowen, painters Liu Rumiao and Cai Ruohong all became professional art theorists. Wait, wait.
Social reality determines that the trend of identity change is that historians turn into painters, or most of them are historians and painters, which is most obvious in the 1990s. The reason is the social status of historians and the reality of economic income. Since 1980s, art history graduate students from universities and research institutions began to appear in batches. Some of them originally studied art in art colleges, and later entered the art history major, so they naturally changed their identities. Another part of art historians who study art or art history have quietly entered the painting world after decades of contact in the art circle.
The works of contemporary art theorists frequently appear in exhibitions and picture albums, and some have also entered the pen club and art market. Except for a few oil painting theorists, most of them are active in the field of painting and calligraphy in China.
The change of identity is a phenomenon worthy of study in China's fine arts in the 20th century, which can explain many problems, and its relationship with artistic creation can explain one reason why China's fine arts developed highly in the 20th century.
The change of identity can promote the study of historical theory, but it also has a negative impact on the development of the discipline:
1. The direct impact of this identity change on the development of the discipline is to promote the brain drain of historical theorists, and at the same time distract historians from studying historical theories.
2. The change of identity has shaken the construction of the independence of historical theory. Frankly speaking, the independence of historical theory research is to clarify the academic basis and methods of historical theory. The dispute between "pen and ink" initiated by painters since 1990s is actually caused by the weak basic theory after the identity change, and the conclusion is biased due to the lack of necessary historical research foundation. This is also a problem brought about by dual identity.
The study of art history theory serves for artistic creation.
Although the theory of art history is independent as a discipline, it is difficult to study it without works of art. Therefore, compared with artistic creation, the study of art history theory is lagging behind.
Starting from an independent discipline, the study of art history theory can show its independence.
However, the study of China's 20th century art history theory did not show much independence, but served artistic creation as a feature of the times. Since 1950s, artistic creation has served the needs of society for a long time, so the study of historical theory often reflects the needs of society.
This service is characterized by "making the past serve the present" in historical research. Of course, "use" may show its social significance, but practical requirements often make research deviate from historical truth and scientific research. For example, the study of "Eight Eccentrics in Yangzhou" appeared as a "counter-trend" in the 1960s and 1970s and became the mainstream of painting in the Qing Dynasty, which obviously did not conform to the real situation in the history of painting. Today's people can like Shi Tao's painting style, but Shi Tao's position in the history of painting in the Qing Dynasty is definitely not the mainstream form, and its influence at that time could not exceed the "four kings and five fortunes". Perhaps there are also historical attitudes and research methods.
Of course, in the theory of art history, the service characteristics of theory and criticism are more obvious.
Since 1990s, art criticism has turned from service to submission, which has become a prominent phenomenon. The commercialization of artistic criticism formed by the further development of vassals is not only a matter of service and vassals, but also shows the characteristics of commodity economy since the 1980 s, thus dispelling the cultural significance of criticism.
The characteristics of service make artistic criticism always accompany artistic creation. Although service makes the study of art history lose its independent quality, as long as it does not violate academic norms, it will not form disadvantages. If the service becomes a vassal, it is likely to cause qualitative change, and the commercialization problem is inevitable in modern society.
From the end of the 20th century to today, the commercialization of art criticism is a reality that must be faced squarely. Many art critics have lost their integrity in the commercialization trend of contemporary art criticism, and it has become an open secret that artists pay for art criticism. Most of the comments published in newspapers and periodicals are hidden soft advertisements. Therefore, looking at today's art criticism-the disgusting praise of blowing horns to lift sedan chairs, the random applause of upside down right and wrong, black and white unclear, art criticism has almost become an artist's advertisement. All this confirms a basic reality: the discourse and discourse power of art criticism have become the tools for art critics to survive.
The marketization of artistic criticism is linked with the marketization of artistic creation, and artistic criticism has become a tool to speculate on artistic creation and artists. This close relationship and interdependence is a special phenomenon in the late 20th century. Many artists rely on art critics in their creation and ignore self-thinking; However, the criticism of critics not only misleads artistic creation, but also creates many problems for contemporary artistic creation. Another part of art critics are changing to the role of planners. Some activities planned by some art critics are obviously commercial or used by commercial activities, and it is difficult for comments with academic titles to win the trust of society.
Under the influence of marketization, a new model has emerged in the theoretical research of art history. Before 1980s, there were many people engaged in historical research and few people engaged in theoretical research. There are many people engaged in the study of ancient history, but few people engaged in the study of modern history; There are many people who specialize in theoretical research and few people who specialize in criticism; There are many people who volunteer to comment, and very few people directly receive the gold pen fee. Now this relationship has changed.
In the process of marketization and modernization, the theoretical research of art history is in a downturn, but the corresponding education and publishing are expanding, which further shows that the service characteristics of the theoretical research of art history make it impossible to play its own value independently. Although the specialty of art history theory is increasing in universities all over the world, and graduate students from universities and research institutions are also enrolling students, the number of people who invest in academic history theory research has not increased much. Most of them are diverted to press and publication, art venues and other institutions. These people basically serve the needs of the commercial society and devote less energy to academic research.
Although art publishing has been particularly prosperous today, the publication of art history theory is shrinking day by day. In the 1990s, several publications of art history were rummaged around or intermittently, and academic research results could hardly find publishing units due to market reasons. On the other hand, a large number of art historians are busy dealing with the compilation topics of publishing units to make money, and a large number of them are repeated publications. Therefore, famous historians are very busy, but they have little time to immerse themselves in historical research.
When such problems arise, we should also solve such problems and face more social problems. The life treatment of art historians is too low, especially compared with artists, which forms a huge life contrast. Taking improving the living conditions of art historians as a breakthrough is an important aspect to solve the existing problems in the study of art history. In addition, the improvement of the quality of art historians is the most important. Secondly, strengthening the independence of historical research is also an issue that cannot be ignored.