“他者”视域下的中国绘画史研究--刍评《气势撼人》见高居翰艺术史学的双重面向  

Research Chinese Painting History from the Perspective of“the Other”--Commentary on The Compelling Image to Catch Sight of the Dual Aspects of James Cahill’s Art History

作　　者：黄祥科 HUANG Xiangke

机构地区：[1]四川大学艺术学院,成都610207

出　　处：《浙江艺术职业学院学报》2024年第3期133-140,共8页Journal of Zhejiang Vocational Academy of Art

摘　　要：在中国绘画史领域,高居翰采用内外兼修的研究方法,通过以视觉为中心的形式挖掘隐藏在作品“不和谐”因素背后的时代变局与社会真相,突破了以往学界的研究藩篱,冲击了历史文本模式。同时也把非主流的研究对象纳入中国绘画史,进一步消解了大众对于业余精神的崇拜感,为艺术史研究提供了新的参考范式。In the field of Chinese painting history,Cahill adopted both internal and external research methods.Through the visual-centered analysis of form and style,the author explores the changes of the Times and the social truth hidden behind the“disharmonious”factors in the works,breaking through the previous academic style research barriers and impacting the historical text model.At the same time,it also included non-mainstream research objects in the history of Chinese painting,further dispelling the public’s sense of worship for the“amateur spirit”and provi-ding a new reference paradigm for the study of art history.

关 键 词：高居翰 《气势撼人》 形式分析法 艺术社会学 图像证史 

分 类 号：J05[艺术—艺术理论]