摘要
海外中国艺术史研究发端于利玛窦等耶稣会士引介中国绘画,脱胎于西方艺术史研究,一直到20世纪50年代发展成为一门独立的现代学科。历经百年历程,其中,高居翰的中国艺术史研究带来了全新的艺术史研究范式和方法论。本文重点阐释高居翰中国艺术史方法论的主张及内容,并论述他如何从外部看中国艺术的过去传统和未来,从而系统评价高居翰对于推进海外中国艺术史研究的贡献。高居翰以“视觉研究”方法为轴心,让绘画通过画史进入历史。借鉴海外中国艺术史研究的“他山之石”,推动中国艺术史研究走向纵深,也增进了中西方的跨文化互鉴。对于探索中国艺术史研究的方法论,具有重要的方法论意义和研究启示。
The study of overseas Chinese art history originated from the introduction to Chinese painting in the work of the Christian missionary Matteo Ricci,then it appeared in the study of Western art history.It did not develop into an independent modern discipline until the 1950s.With a history of nearly a century,James Cahill's research on Chinese art history has created a new research paradigm and methodology by integrating art history.This paper focuses on analyzing James Cahill's advocacy and the content of his visual approach methodology and discussing how he viewed the past traditions and future of Chinese art from an external perspective.The aim is to systematically evaluate James Cahill's contributions to promoting research on overseas Chinese art history.Based on the visual approach,art is enabled to enter history through art history.Learning from others'art experience promotes the in-depth study of Chinese art history,and enhances cross-cultural dialogue between the East and the West.This has important model significance and enlightenment for Chinese art history research.
出处
《中国文化研究》
北大核心
2025年第2期132-141,共10页
Chinese Culture Research
基金
国家社会科学基金项目(24FZWB043)
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)的阶段性成果。
关键词
高居翰
中国艺术史
视觉研究
方法论
反思
James Cahill
Chinese history of art
visual approach
methodology
reflections
