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近些年,与美术批评、美术策展、艺术市场等领域的繁荣相比,美术基础理论研究显得异常冷清。一方面,许多美术史论出身的中青年学者都纷纷“转行”去做批评家、策展人,或进入艺术拍卖领域;另一方面,美术类硕士、博士论文中涉及美术基础理论的研究寥寥无几,导致美术基础理论研究领域的人才和成果非常贫乏。与此同时,随着国际交流的日益便捷,许多国外学者研究中国美术的成果被引进国内。从最初的译介、引进,到许多国外学者来华讲学、交流,甚至是带研究生,这种“他者眼光”的研究方法在中国产生
In recent years, compared with the art criticism, art curation, art market and other areas of prosperity compared to the art of basic theoretical research is unusually deserted. On the one hand, many young and middle-aged scholars from the history of fine arts have successively turned critics, curators, or entered the field of art auction. On the other hand, art master’s and doctoral dissertations involve the basic theory of fine arts Few researches have led to the paucity of talents and achievements in the field of art basic theory research. At the same time, with the increasing convenience of international exchanges, many foreign scholars have studied the achievements of Chinese art in China. From the first translation and introduction to the introduction of many foreign scholars to China to give lectures, exchanges, and even graduate students, this “others look ” approach to research in China