20世纪以来海外中国艺术研究的范式转向  

Paradigmatic Shifts in Overseas Research on Chinese Art since the 20th Century

作　　者：宋石磊 Song Shilei

机构地区：[1]北京大学美学与美育研究中心/哲学系,北京100871

出　　处：《艺术探索》2025年第1期6-12,共7页Arts Exploration

基　　金：2024年度中国博士后科学基金资助项目“风格、画意与画史重构:高居翰的中国艺术史研究”(2024M750038)。

摘　　要：20世纪初期海外中国艺术研究以汉学家的文献考证为主。20世纪40年代后期形成汉学与艺术史的两大学派的对峙。20世纪50年代,海外中国艺术研究从汉学中剥离成为一门独立的学科,走向一种风格学形式分析的解读。几年之后,汉学与艺术史之间的专业对垒消解,逐渐走向汉学与艺术史的融合。20世纪80年代后,随着“艺术史学科的危机”与新旧艺术史的分野,海外中国艺术研究的问题、方法与范式在新的时代语境下逐渐转向多元化和情境主义探寻。In the early 20th century,overseas research on Chinese art was primarily dominated by the documentary research carried out by Sinologists.By the late 1940s,a confrontation emerged between the two major schools of Sinology and art history.During the 1950s,overseas research on Chinese art separated from Sinology to become an independent discipline,coinciding with a move towards a formal analysis of stylistic forms.A few years later,the professional rivalry between Sinology and art history dissolved,making way for a new period of mutual integration.After the 1980s,with the"crisis in the discipline of art history"and the division between new and old art history,the issues,methods,and paradigms of overseas research on Chinese art have gradually shifted towards diversification and contextualism in the new era's context.

关 键 词：海外中国艺术研究 范式转向 新艺术史 方法论 情境主义 

分 类 号：J120.9[艺术—艺术理论]