艺术史认识论——基于前人相关观点的梳理和回应  

Art History Epistemology: Systemizing and Respond Based upon Predecessors' Relevant View

作　　者：徐子方[1] 

机构地区：[1]东南大学艺术学院,江苏南京210018

出　　处：《艺术百家》2016年第1期124-129,共6页Hundred Schools In Arts

基　　金：国家"211工程"三期"艺术学理论创新与应用研究"大型项目阶段性成果之一

摘　　要：在试图科学阐释人类艺术发展历史之前,必须对迄今流行的艺术史认识模式作一梳理。此即:(一)从对艺术史的根本视野角度考虑而产生的广义(一般)的艺术史观和狭义(特殊)的艺术史观;(二)按照所依据的理论指导原则而出现的生物学、进化论和形式主义等三种艺术史认识模式;(三)根据对艺术概念、艺术命运以艺术史规律的根本认识不同而形成的艺术史终结论和艺术史持续发展论。进一步研究表明,艺术史发展总是围绕一个中心向外传播扩散。人类艺术发展的历史长河中也必然存在主流和非主流,主流艺术集散地也必然构成艺术史中心,而艺术史就是艺术中心不断发展流变的历史。必须从全人类角度考察艺术整体,而不局限在一个地域专注艺术的一个方面。Before trying to scientifically interpret human art development,we must systemize the existing recognition modes of art history. Firstly,there are general and special art history overviews. Secondly,there is a third recognition mode of art history according to the theoretical principles of biology,evolution,and formalism. Thirdly,there are discourses that art history ends and art history will continue develop according to different understanding on art concept,art destiny,and the law of art history. Further researches show that the art history always advances from a centre to the outer side. In the historical river of human art,there necessarily are mainstream and non- mainstream. The collecting and distributing of mainstream art necessarily constructs the centre of art history,and art history is just the continual development and transformation of art centre. Therefore,we should pay attention to art as a whole from the perspective of the whole human but not from the perspective of one aspect of local art.

关 键 词：艺术学 艺术学理论 艺术史观 一般艺术学 门类艺术学 

分 类 号：J0[艺术—艺术理论]