现在，无论是宏观的美术理论研究还是美术史的整体描述，都或多或少地有一种鄙夷形而下的实证主义的倾向。往往高论绵绵，而少有切实、确凿的例证，甚至有时实证的材料的意义近乎为零：要么闪烁其辞，回避确指，要么只是材料的纯粹胪列而使实证的学理讯息显得芜杂、矛盾或缺少 Now, both the macroscopic art theory research and the overall description of the history of art have more or less the tendency of despising the metaphysical positivism. Often highly suggestive, and less practical, conclusive examples, the empirical material sometimes has almost zero meanings: either flirting with rhetoric, avoiding what is really, or just a mere inclusion of material, makes empirical evidence of the message seem miscellaneous, Conflict or lack of