拓展的视野:汉学与艺术史的交融

发布时间：2018-04-21 21:00

本文选题：汉学 + 艺术史　；参考：《南京艺术学院学报(美术与设计版)》2012年05期

【摘要】：西方现代学术着手研究中国艺术史,至今已走过一个世纪的历程。作为宏观的世界艺术史范畴的一部分,海外中国艺术史研究先后经历了一系列饶富意义的变化和发展。二十世纪前半期,脱胎于汉学传统的西方中国艺术史研究一直致力于探索自身的学术纪律,并初步建立了以风格史研究为旨归的学科规范。其后的二、三十年间,在汉学和艺术史学双重训练的推动下,以高居翰和方闻为代表的西方中国艺术史界逐渐形成了不同于西方艺术史的学科维度,并作为一门学科在西方大学中赢得了地位。作为沟通中国艺术史和西方艺术史的桥梁,回顾和检讨西方中国艺术史的逻辑进程,考究和评价其利弊得失,将会为我们重新审视中国艺术史学科的当下形态和发展趋向提供"他山之石"的学科借鉴。
[Abstract]:The modern western academic research on the history of Chinese art has gone through a century. As a part of the world history of art, overseas studies of Chinese art history have undergone a series of significant changes and developments. In the first half of the 20th century, the study of Western Chinese art history, which was born out of the Sinology tradition, has been devoted to exploring its own academic discipline, and has preliminarily established the discipline norm aimed at the study of style history. In the following two or thirty years, driven by the dual training of Sinology and art historiography, the circle of western Chinese art history, represented by Gao Juhan and Fang Wen, gradually formed a disciplinary dimension different from that of western art history. And as a discipline in Western universities to win the status. As a bridge between Chinese art history and western art history, reviewing and reviewing the logical process of western Chinese art history, examining and evaluating its pros and cons, It will provide reference for us to re-examine the present form and development trend of Chinese art history.
【作者单位】：杭州师范大学美术学院;
【基金】：浙江省高校人文社会科学重点研究基地(艺术教育)人才科研启动项目成果
【分类号】：J120.9

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