论文部分内容阅读
20世纪中国美术史学者对本国美术史的研究,经历了重视历史文献和重视考古实物两个阶段。随着接触材料的不同,美术史所涉及的问题也不一样。这两种材料具有不同的性质和意识形态含义,然而它们跟当时的民族意识都具有一定程度的关联:坚持使用不十分可靠的历史文献,体现出带有保守倾向的美术史家试图在艺术上恢复和坚持民族历史记忆的努力;而美术史中的考古实物,是跟形式主义密切联系在一起的,因而提供了另一种从总体上把握中国传统艺术的全新视角。
In the 20th century, Chinese art historians have studied the art history of their own countries in two stages: emphasis on historical documents and emphasis on archeology. With the different contact materials, the problems involved in art history are not the same. Both of these materials have different meanings and ideological meanings. However, they both have some connection with the national consciousness at that time. Persisting in using the less reliable historical documents shows that art historians with conservative tendencies try to restore artistry And persevere in the efforts of national historical memories. However, the archeological objects in the history of art are closely linked with formalism and thus provide a completely new perspective on how to grasp the traditional Chinese art in general.