In comparison to traditional painting studies,the study on art history in the first half of the twentieth century exhibits significant modernity in terms of vision,objectivity,theory,and methodology.Previously overlooked or"unknown"artworks have now entered the realm of"renowned"art research and gained at-tention from academic circles both home and abroad.The establishment of a modern disciplinary system and the application of interdisciplinary methods have endowed"unknown art history"in the Republic of China with a humanistic connotation that was previously absent.Its focus is no longer solely on revealing the personality traits of creative subjects.Its academic orientation lies in comprehending overall artistic trends from a perspective rooted in creative generality.Based on this premise,the research and writing par-adigm for"unknown art history"has partially replaced traditional paradigms and serves as a bridge for aca-demic dialogue between China and Western countries within the field of art history during this period.This highlights its dual characteristics encompassing nationality as well as temporal context.
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