上世纪80年代,学术界从“文革”的禁锢中苏醒,各种西方美学思潮涌入国内,艺术理论著作成为当时最畅销的学术著作,青年学者集体对美学近乎狂热地追捧,“美学热”一度迎合了当时社会进步的思潮。进入新世纪以后,美术史研究替代了美学热,取得了长足进展,尤其是海外中国美术史研究一度形成学术热点,一大批优秀的青年美术史学者登上历史舞台。但美术研究应该是由“史”、“论”两部分组成的,在美术史、书法史研究取得进展的今天,美术、书法理论研究比之80年代反而有所消沉。学术界这一转向背后的原因是什 In the 1980s, academia revived from the imprisonment of “Cultural Revolution ”, all kinds of Western aesthetics thoughts poured into the country, and the works of art theory became the most popular scholarly works at the time. The young scholars collectively sought the aesthetically fanatical pursuit, “ Aesthetics fever ”once catered to the social trend of thought. Since the beginning of the new century, art history has replaced aesthetics and made great strides. In particular, studies on the history of art history in overseas countries once formed academic hot spots. A large number of outstanding young art historians boarded the stage of history. However, art research should be composed of two parts, “history” and “theory”. Art and calligraphy theory research has been more depressed than the 1980s when the history of art history and calligraphy progress. The reason behind this turning point in academia is what