二十世纪以来,世界各国的艺术史研究领域空前活跃,西方的美术史研究在方法论上的活跃也直接体现了研究所达到的高度,并影响着世界各国的美术史研究。虽然当下西方美术史研究领域已进入“新美术史”(new arthistory)阶段①,但对形式、风格乃至审美、价值鉴赏的深入研究,仍是美术研究中的本体。综观西方二十世纪美术史研究,初期的三大研究流派:形式分析主义、图像志与图像学、符号学,对整个世界二十世纪以来的美术史研究起着整体性的深远影响。兴起于二十世纪初的这三个研究流派直到今天其释视角和方法体系仍然在影响着全世界各类型的美术史研究者,并且以各种新的路径被运用、演变、发展、甚至裂变着,由其研究方法不断更新着美术史研究的成果。特别是形式分析主义学派,在当代仍然被作为最接近艺术本体研究向度的方法论体系被许多美术史家所坚持、运用、发展。不言而喻,厘清早期形式分析主义意大利奇马布埃圣特里尼塔的圣母像约1280 Since the 20th century, the field of art history in all countries in the world has been unprecedentedly active. The methodological activeness in the study of art history in the West also directly reflects the height reached by the research and affects the study of art history in various countries in the world. Although the field of western art history has now entered the stage of “new arthistory,” the in-depth study of form, style and even aesthetic and value appreciation is still the noumenon in art research. Looking at the study of the history of art in the 20th century in the West, the three major research schools of the early days: formal analysis, pictorial image and semiotics, have a profound and far-reaching impact on the study of the history of art in the entire 20th century. The three research schools that rose in the early twentieth century have until today still had their systems of interpretation and method still affecting various types of art history researchers around the world and are being applied, evolved, developed and even fissured in various new ways With its research methods continue to update the achievements of art history research. In particular, the school of formalist methodology is still being used as the methodology of the contemporary study of the degree of art noumenon by many art historians. It goes without saying that to clarify the early form of the patriarchal Madame Basilica of Trinita in Cimabou about 1280