张荫麟的史学艺术论及其思想来源与特征  

Zhang Yilin’s Artistic Theory of Historiography:Intellectual Sources and Features

作　　者：徐国利 Xu Guoli

机构地区：[1]上海财经大学人文学院历史系,上海200433

出　　处：《南开学报（哲学社会科学版）》2021年第1期145-155,共11页Nankai Journal:Philosophy,Literature and Social Science Edition

基　　金：国家社会科学基金一般项目(12BZS002)。

摘　　要：张荫麟为了纠正中国现代史学发展的唯科学主义弊病,提出史学兼为科学和艺术,并从历史本体论、历史认识论、史学价值论和历史编纂的角度较为系统和深入地阐发了史学艺术性问题。其史学艺术论直接吸取了柏格森、斯宾格勒、克罗齐、摩尔和斯密士等西方现代非理性主义和人文主义哲学家和史学家的相关思想。其史学艺术论有鲜明的理论特色和价值,在中国现代史家中,他最早从现代学科属性阐发史学艺术论,主张史学艺术性和科学性的统一,将现代理论与传统思想相融合。张荫麟的史学艺术论及其实践为推动传统史学艺术论的现代转型和中国现代史学发展做出了积极贡献。To rectify the shortcomings of scientism in the development of modern Chinese historiography, Zhang Yinlin proposed that historiography should capture both science and art, while he expounded systematically and profoundly on the artisticity of historiography from the perspectives of ontology, epistemology, axiology and the writing of historiography. His research directly absorbed the thoughts of modern western irrationalism and humanism from philosophers and historians such as Henri Bergson, Oswald Spengler, Benedetto Croce, G. E. Moore and Justin U. Smith.Among modern Chinese historians, Zhang Yinlin was identified as the earliest scholar to elucidate the artistic theory of historiography from the typology of modern disciplines, asserted that historiography was a synthesis of both science and an art, as well as integrated modern theories with traditional thoughts. His theory and practice made significant contributions to the modern transformation of the traditional artistic theory of historiography and the development of all-round modern Chinese historiography.

关 键 词：张荫麟 史学艺术论 思想来源 理论特征 

分 类 号：K092[历史地理—历史学]