摘要
滕固与宗白华都是德国艺术学在中国的早期传人,也是积极进行艺术学中国化实践的开拓者。从一般艺术学方法、门类艺术学融通研究、艺术史观以及对待艺术与文化的关系等维度分析二者的异同,可以看出宗、滕两位先生在艺术学研究上各臻胜境:宗白华偏于"玄学"意味的中国艺术美学探索,滕固擅长"科学"的中国艺术史学建构,由此形成20世纪上半叶艺术学中国化的双峰并峙局面。
Both TENG Gu and ZONG Bai - hua are among the earliest disseminators of German arts and also the pioneers who sinicized arts actively in China. It can be noted that Mr. ZONG and Mr. TENG excelled differently compared from the general methodology of arts study, the interdisciplinary study of arts, views of art history, and the relationship be- tween arts and culture. It demonstrates Mr. Zong inclined to explore the ＂metaphysical＂ in Chinese arts while Mr. Teng excelled in the construction of the sinicization of arts in the first half ＂scientific＂ in the history of Chinese arts and they both were outstanding during the of 20th century.
出处
《贵州大学学报（艺术版）》
2013年第2期49-54,59,共7页
Journal of Guizhou University Art Edition
基金
湖北文理学院科研启动经费资助项目"德国艺术学的中国化--宗白华现代艺术学思想研究"阶段性成果之一
