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中国美术史研究将美术史的性质归列到历史学的范畴,其目的在于重构美术历史。美术史研究应以图像为主干,尽力摈弃以文献为主导的研究格局。但在实践中,对图像的解读仍需依凭文献的记载,形成了文献系统与图像系统的既相互契合又相互悖离的二重格局。在“昭君出塞”这一典型个案中,历史记载与故事传承这一文献系统直接诱发了其图像系统的产生与形成,同时图像系统又极力超越文献系统形成的思维定势,产生新的图像系统格局。在中国美术研究视域中,这种文献系统与图像系统的二重关联是一种普遍现象,值得认真研究。
The study of the history of art in China classified the nature of art history into the category of history, with the aim of reconstructing the history of art. The study of art history should take the image as the backbone and try its best to abandon the literature-led research pattern. However, in practice, the interpretation of the image still needs to be based on the documentation of the literature, which forms the dual pattern of both the document system and the image system that are mutually compatible and mutually exclusive. In the typical case of “Zhaojun Selling Stuff”, the system of historical records and story inheritance directly induces the emergence and formation of its image system. At the same time, the image system greatly exceeds the thinking tendency formed by the literature system to generate new Image system pattern. In the field of Chinese art research, the dual relationship between such document system and image system is a common phenomenon and deserves careful study.