中国当代艺术史写作的火候到了吗？——在策略语境中的中国当代艺术史写作  

Chinese Contemporary Art History Writing in the Tactical Context

作　　者：何工 

出　　处：《艺术当代》2007年第3期20-21,共2页Art China

摘　　要：艺术史的写作能否是客观和中立的？这个问题适合于向一切领域的历史学家提出。亚里士多德曾在历史与诗（文学）之间进行了区别．认为历史是已然发生的事情的描述，不允许文学性的虚构和想象。可是．到了20世纪，这个观点开始成了问题。克罗齐说：“一切历史都是当代史。”科林伍德进一步说：“一切历史都是思想史。”这就是说，历史写作不可能如亚里士多德所认为的那样．是绝对冷静的和客观的，新历史主义者——如格林布拉特——甚至认为．历史写作与其说充满诗性特征．不如说是一种文学创作．而历史文本不过是文学作品而已。With the ＂history＂ being purchased, Chinese contemporary artists have seen considerable amount of income, improved life quality, and enhanced reputation. The hammering in auction houses acts like an official seal, firmly affixed to the contract with cynical art, pofitical pop and gaudy art, the sub-projects of contemporary Chinese art. Since 1990＇s, as a way of survival for contemporary artists, these sub-projects have attracted numerous imitators, bringing contemporary Chinese art into an age of imitation and reproduction. By following a so-called ＂logic of history＂, these artists have found a shortcut to fame and fortune. To such a phenomenon, the artists themselves, instead of the history recorders, should take the main responsibility.

关 键 词：历史写作 艺术史 中国当代 历史学家 亚里士多德 语境 诗性特征 新历史主义 

分 类 号：J110.9[艺术—艺术理论]