Core Perspective - The research methodology of Chinese art history has shifted from traditional approaches to a "new art history" perspective, emphasizing interdisciplinary views and the social, cultural, and historical contexts behind artworks [2][3][4]. Group 1: New Art History Paradigm - The "new art history" advocates breaking traditional frameworks and linear narratives, focusing on the interactions between art and its surrounding contexts [2]. - Recent publications reflect a paradigm shift in the writing of traditional Chinese painting history, offering new multidimensional interpretations [2][5]. Group 2: James Cahill's Contributions - James Cahill's five-volume work "A History of Chinese Painting in the Late Ancient Period" discusses the evolution of Chinese painting from the Yuan to the Qing dynasties, marking a transition from style analysis to art social history [3][4]. - The first three volumes emphasize the impact of amateur literati painters on the development of Chinese painting, while later volumes explore themes like nature and secular painting [4]. Group 3: Wu Hong's New Work - Wu Hong's recent publication "Chinese Painting: From Yuan to Qing" represents a more pronounced shift in art historical writing, focusing on marginalized social roles and the contributions of non-literati and female artists [5][6]. - The work establishes a layered narrative structure based on materials, schools, and regional influences, further developing trends seen in Cahill's writings [6]. Group 4: Sociological Perspectives in Art History - The rise of the merchant class and the flourishing of consumer culture during the Ming and Qing dynasties provide a rich context for sociological studies of art, particularly in the late Ming period [7][8]. - The popularity of "painting manuals" in the late Ming is linked to broader cultural changes, enhancing public knowledge and appreciation of art [7][8]. Group 5: Alternative Views in Chinese Art History - Recent works by domestic scholars, such as Zhu Wanzhang and Zou Guangsheng, reflect a departure from traditional narratives, focusing on specific themes and the integration of contemporary art historical perspectives [9][10]. - Zhu's work on flower-and-bird painting explores the cultural significance of auspicious themes, while Zou's research connects literature, painting, and calligraphy in the Wei-Jin period [9][10]. Group 6: Conclusion on Art Historical Research - The evolution of art historical research in China has led to significant breakthroughs, emphasizing alternative perspectives and interdisciplinary approaches, which lay a solid foundation for future studies [11].