西方汉学中沃尔夫林中国艺术研究的影响——兼论高居翰的视觉研究方法  

Wolfflin's Influences on Chinese Art Researches in Western Sinology——Taking James Cahill as an Example

作　　者：吴佩烔[1] WU Pei-tong(Research Center of Comparative Literature and World Literature,Shanghai Normal University,Shanghai 200234,Chin)

机构地区：[1]上海师范大学比较文学与世界文学研究中心,上海200234

出　　处：《南通大学学报（社会科学版）》2018年第4期112-118,共7页Journal of Nantong University:Social Sciences Edition

摘　　要：20世纪前半期西方文艺理论的理性现代性思潮,催生了各种以艺术语言学取向和作品本体论为根本特点的形式主义流派。沃尔夫林的形式分析和艺术风格学也是构成这一思潮并反映其特点的一部分,不但奠定了现当代西方艺术研究的一些基本面,也符合了西方汉学领域的中国艺术研究的一些特定需求,从而在这一领域构成了基础性的影响。高居翰以作品和画面分析为中心的视觉研究方法,即是沃尔夫林理性化的艺术语言学取向与西方汉学中艺术研究需求相结合的一个典型例证。The ideological trend of rational modernity in western theories of literature and art accelerated the birth of various formalistic schools in the first half of 20 th century, whose fundamental characteristics are artistic linguistics and artwork ontology. Wolfflin＇s formal analysis and studies on artistic styles are also part of this trend and reflect its characteristics. His theories not only forged some basic dimensions of art studies in modern and contemporary western academic circles, but was fit for some specific needs of Chinese art researches in western sinology and exerted fundamental influences. James Cahill＇s visual methods focused on art works and their pictures are typical examples for the combination of Wolfflin＇s rational and artistic-linguistic orientation and the needs of art researches in western sinology.

关 键 词：沃尔夫林 高居翰 理性化 艺术语言学 作品本体论 

分 类 号：J120.96[艺术—艺术理论]