中国美术史研究一直是我国当下美术理论讨论的重点领域,经过了几十年来的相关研究,眼下对中国美术史的讨论澄清了许多问题,梳理也日趋精密细致。在宏观层面理清了美术发展脉络,在微观层面随着考古工作进展以及文献考据日益审慎细致而取得了诸多成果。但伴随着中国当下美术实践中凸显的“中国”自觉,美术史研究也遭遇了窘迫——提供有效的价值原则以建立传统与当下的联系,这使当下中国的美术实践没能取得自己的历史身份,形成传统与现代之争。西方美术理论对中国理论研究的介入加剧了 The study of Chinese history of art has always been a key area for the discussion of contemporary art theory in our country. After decades of research, the discussion of the history of Chinese art has clarified many problems and the management has become increasingly sophisticated. At the macro level, the development of art was clarified. At the micro level, many achievements have been made with the progress of archeology and the increasingly cautious and careful examination of the literature. However, along with the conspicuous “China ” self-awareness in the current art practice in China, the study of art history has also suffered from embarrassment - providing effective principles of value to establish the connection between tradition and the present, which makes the contemporary Chinese art practice fail to gain its own The historical identity, the formation of the dispute between tradition and modernity. The involvement of Western art theory in China’s theoretical research has intensified