20世纪二三十年代中国美术史著述中的分期问题  

Question of Periodization in Writings of Chinese Art History in 1920s and 1930s

作　　者：穆瑞凤[1] 

机构地区：[1]清华大学美术学院,北京100084

出　　处：《南京艺术学院学报（美术与设计）》2013年第5期40-45,211,共6页Journal of Nanjing Arts Institute:Fine Arts & Design

摘　　要：20世纪初,中国社会开始由传统社会向现代社会转型。新式艺术教育兴起,美术院校中对于美术史的教学与研究变得异常重要。以姜丹书、陈师曾、潘天寿、郑午昌、滕固、傅抱石、俞剑华等人为代表的美术史家在20世纪初撰写了一批中国美术史著作,开创并构建了中国现代形态的美术史学。本文以陈师曾的《中国绘画史》、潘天寿的《中国绘画史》、滕固的《中国美术小史》、郑午昌的《中国画学全史》、傅抱石的《中国绘画变迁史纲》为例,重点探讨当时美术史家普遍关注的美术史的分期问题,试图通过对这一问题探讨来考察各个史家的艺术史观和方法。In the early 20th century, Chinese society started to transform from traditional society to modern one. New art education rose, and education of art history and research in art academies became extraordinary important. Art historians represented by Jiang Danshu,Chen Shizeng, Pan Tianshou, Zheng Wuchang, Tang Gu, Fu Baoshi, Yu Jianhua and so on wrote a series of books of Chinese art history in early 20th century,started up and constructed the study of art history in the modern Chinese form. Taking Chen Shizeng's Chinese Painting History, Pan Tianshou's Chinese Painting History, Teng Gu's Brief History of Chinese Art,Zheng Wuchang's General History of the Study of Chinese Painting, and Fu Baoshi's Change History of Chinese Painting as examples, this thesis discusses stressfully on the question of periodization of art historythatarthistoriansatthattimeconcernedgenerally,and tries to examine ideas of art history and methods of different art historians through discussion this question.

关 键 词：20世纪 中国美术史学 美术史分期 

分 类 号：J022[艺术—艺术理论]