20世纪上半叶国际汉学中的艺术史学特征  

The Features of Art Historical Scholarship in International Sinology during the First Half of the 20th Century

作　　者：刘渟[1] LIU Ting

机构地区：[1]四川师范大学美术学院

出　　处：《当代美术家》2025年第2期92-108,共17页Contemporary Artists

基　　金：国家社科基金艺术学项目“田野调查与民国‘无名艺术史’研究”(项目编号:19BF094)的阶段性成果。

摘　　要：国际汉学中的艺术史研究是一个非常值得探讨的话题。在20世纪上半叶,由于特殊的历史条件和社会环境,各种身份来华考察的西方学者的汉学研究呈现出具有学术启发性的艺术史特征。他们既传播了东方艺术史,又阐释了对待东方文化艺术的西方立场。其间流露出“以图说话”的阐释方式和西方中心论的他者话语方式或殖民色彩的文化立场。不同学者对中国艺术史学研究既有认知上的历史共性,也存在个体差异。共性在于,外国学者基于自身实地在华考察经验,其写作具有明显的门类艺术史研究特征,“风格”成为他们研究中国艺术史所共有的核心语词,西方学者在梳理中国艺术史的线性发展历程中,普遍将唐代艺术视为古代艺术的高峰,不谋而合地肯定唐代艺术价值。差异在于,以伯施曼、喜龙仁为代表的学者认可中国古代历史上对外来文化的接纳,同时也认同其本土风格的再建构;以谢阁兰为代表的学者对中国艺术史上外来文化的本土化持否定态度;以勒柯克为代表的学者肯定中国对外来文化的接纳的同时,持否定其本土化意义的立场。通过比较不同汉学家的艺术史学研究,以历史为依托,以思辨为基础,以比较的视野,审视这一历史时期国际汉学的艺术史学特征,有助于在跨文化语境下反思当代中国艺术史研究的方向和取径。The study of art history within international Sinology is a highly significant topic for exploration.In the first half of the 20th century,under unique historical conditions and social circumstances,Western scholars of varied backgrounds who conducted research in China demonstrated art historical features of academic inspiration in their Sinological studies.They not only disseminated the history of Eastern art but also articulated Western perspectives on Eastern culture and art.Their works often revealed a Eurocentric discourse of the"Other"or a colonialist cultural stance.While there were historical commonalities in the understanding of Chinese art history among different scholars,individual differences also existed.The commonalities lie in the fact that foreign scholars,drawing on their firsthand fieldwork experiences in China,produced writings marked by distinct disciplinary approaches to art history;"style"emerged as a shared core concept in their studies of Chinese art history.Western scholars,in delineating the linear development of Chinese art history,generally regarded Tang Dynasty art as the pinnacle of ancient artistic achievement,unanimously affirming its value.The differences,however,are evident in the following ways:Scholars such as Ernst Boerschmann and Osvald Siren acknowledged China's historical acceptance of foreign cultures while affirming the persistence of indigenous styles.In contrast,scholars like Victor Segalen rejected the localization of foreign influences in Chinese art history.Meanwhile,figures such as Albert von Le Coq recognized China's openness to foreign cultures but dismissed the significance of their subsequent sinicization.By comparing the art historical studies of different Sinologists,and through a historical,critical,and comparative lens,this examination of the characteristics of art historiography in international Sinology during this period contributes to a cross-cultural reflection on the direction and methodologies of contemporary Chinese art history research.

关 键 词：国际汉学 艺术史学特征 认知共性 认知差异 他者话语 外国考察者 20世纪上半叶 

分 类 号：J11[艺术—艺术理论]