活态写作:一种新的中国古代艺术史书写  

Active Writing:A New Writing of Ancient Chinese Art History

作　　者：李源锋 彭修银[1] LI Yuanfeng;PENG Xiuyin(School of Literature,Journalism&Communication,South-Central Minzu University,Wuhan 430074,China)

机构地区：[1]中南民族大学文学与新闻传播学院,湖北武汉430074

出　　处：《美育学刊》2025年第2期81-88,共8页Journal of Aesthetic Education

基　　金：国家社会科学基金艺术学重大项目“中国传统艺术知识体系研究”(21ZD08)的阶段性成果。

摘　　要：活态写作关注艺术的发生、演变、流通、交易与收藏,主张融儒教、美学、风格学和实证理论于一体,形成一种大文化史观。中国古代艺术史的叙述原则是将这种大文化史观贯穿于行旅空间、水文空间、石窟空间、集市空间、宫殿空间等各类文化空间中,聚焦于不同文化空间之间的相互作用,以及因艺术趣味的丕变而引起的空间转移,同时兼顾思潮的消长、朝代的更替、社会的治乱、节日与历法等因素的历史分期法。其最终目标是试图弥合艺术品与社会之间的罅隙,并为解决中国古代艺术史中精英写作与非精英写作的对立、艺与术的分离、史料与原物的错位等问题提供启发。Active writing focuses on the occurrence,evolution,circulation,trade,and collection of art,advocating the integration of Confucianism,aesthetics,stylistics,and empirical theory to form a grand cultural historical perspective.The narrative principle of ancient Chinese art history is to integrate this grand cultural perspective into various cultural spaces such as travel space,hydrological space,grotto space,market space,palace space,etc.,focusing on the interaction between different cultural spaces and the spatial transfer caused by changes in artistic taste.At the same time,a historical periodization method characterized by factors such as the rise and fall of ideological trends,dynastic changes,social unrest,festivals,and calendars,is also taken into consideration.Its ultimate goal is to attempt to bridge the gap between art and society,and provide inspiration for addressing issues such as the opposition between elite and non-elite writing in ancient Chinese art history,the separation of arts and techniques,and the misalignment of historical materials and artifacts.

关 键 词：中国古代艺术史 活态写作 艺术史观 文化空间 历史分期 

分 类 号：J120.9[艺术—艺术理论]