Abstract: The most important task in studying the history of Chinese painting is to interpret different visual languages ??and their specific meanings. The key to understanding Chinese painting lies in the calligraphic lines used by the artist to express it, or the "traces" of its form. The article points out that in order to reconstruct the history of simulated description and representation in early Chinese art, using a dynamic viewpoint or "parallel perspective" to analyze the plane structure will help to date early paintings. In the earlier period from the Six Dynasties to the Song Dynasty (fourth century AD to the end of the thirteenth century), Chinese artists focused their infinite creativity on the universe without a creator; after the Song Dynasty (from the fourteenth century onward), individualization or self- Change is the main reason for its transformation.
Keywords: Chinese painting; history; vision
Art Bulletin published in March 2001 published the masterpiece "Japan 2001" by Professor Mini Hall Yiengpruksawa Art History: Current Research and Key Issues. The article examines the reality of Japanese art research and points out that “until the 1990s, many senior scholars were constrained by anachronistic 19th-century concepts of style and aesthetic value, and on the other hand viewed art as national or spiritual. Expression.” [1] (P.111) Obviously, at the beginning of the 21st century, this kind of approach to connect art and nation will be spurned by postmodern art historians. Therefore, Professor Sato Michinobu’s call to re-examine the conceptual system of Japanese art history as an aspect of a comprehensive reflection on the country’s art history is meaningful. This process of re-examination is related to the “deconstructive” nature of the humanities as a whole, and has involved fundamental issues such as the nature and status of East Asian art studies in the postmodern world.
Professor Michinobu Sato pointed out that the emergence of modern Japanese art history is “on the one hand a product of the European order in the post-Enlightenment era, and at the same time it is derived from the intellectual tradition formed by several generations based on ancient China. ” [2] (P.111-112) Therefore, as a way to look at East Asian art, to understand traditional Japanese art history, we should first examine the ancient Chinese art history model as its basis. [3]（P. 383-395）