论20世纪30、40年代“无名艺术史”的研究范式与价值取向

发布时间：2019-05-18 04:53

【摘要】：民国以来,中国艺术史学在现代转型过程中逐步实现了研究内容与方法的重构,与"经典书画史"相对应的"无名艺术史"是其中一个新兴研究领域。学界一般将其分散在民国美术史、艺术考古学或中国艺术史学百年进程中进行个案或专题研究,但在研究范式与价值取向上存在扁平化、单一化的倾向。本文试图将"无名艺术史"作为一种史学转型期的独立形态,从分层角度去观照其研究范式和价值取向,即作为学术文本的"无名艺术史"、作为艺术动力的"无名艺术史"和作为精神化育的"无名艺术史"。通过分层思维下的艺术史认识论建构,可以使学界依据受众立场的分层,去厘清研究的叙事逻辑与方法体系,并为中国艺术史学的理论建构增添一种新视角与新的叙述格局。
[Abstract]:Since the Republic of China, Chinese art historiography has gradually realized the reconstruction of research contents and methods in the process of modern transformation, and the history of nameless art corresponding to the history of classical calligraphy and painting is one of the new research fields. Scholars generally disperse it in the history of art in the Republic of China, art archaeology or Chinese art historiography in the course of a hundred years to carry out case or thematic studies, but in the research paradigm and value orientation there is a tendency of flattening and unifying. This paper attempts to take the History of nameless Art as an independent form in the period of historical transformation, and to observe its research paradigm and value orientation from the perspective of stratification, that is, the "history of nameless art" as an academic text. As the motive force of art, the history of nameless art and the history of nameless art as spiritual education. Through the epistemological construction of art history under the hierarchical thinking, the academic circles can clarify the narrative logic and method system according to the stratification of the audience, and add a new perspective and new narrative pattern to the theoretical construction of Chinese art historiography.
【作者单位】：四川师范大学美术学院;
【基金】：国家社科基金青年项目“抗战时期教育部西北艺术文物考察研究(1940—1944)”(批准号:13CZS070)成果
【分类号】：J120.9

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