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西学东渐以前,画论是中国绘画美学的主要形态,而作为现代艺术学科的绘画研究,则是在中国人文学术整体转型的大背景下形成的。从传统画论到现代绘画研究,中国绘画美学的知识结构和表述形态都发生了很大变化,这不仅意味着研究主体、研究范式的转换,也意味着中国绘画美学以至整个艺术理论已被纳人国际化的学术语境之中。画论被现代绘画研究取代,但画论中积累的艺术理论资源并没有失效,而是被纳入新的知识
Before the graduation of Western Learning, drawing theory was the main form of Chinese painting aesthetics, and the study of painting as a modern art discipline was formed against the backdrop of the overall transformation of Chinese humanities. From the traditional painting theory to the modern painting research, the knowledge structure and expression form of Chinese painting aesthetics have undergone great changes. This not only means the transformation of the research subject and the research paradigm, but also means that the aesthetics of Chinese painting and even the whole art theory have been accepted People in the international academic context. Painting theory was replaced by modern painting research, but the art theory resources accumulated in the painting theory did not fail, but were incorporated into new knowledge