中国艺术史之恐慌——对比西方艺术史之后的中国艺术观念略谈

Panic of Chinese Art History:A Brief Discussion on Chinese Art Notion Compared with Western Art History

艺术史虽然是对于人类文明中的艺术进行整体回望,但一直以来中国的艺术史主要是受西方艺术概念、视野及框架下建立的学科。同时我们也渐渐发现即使是西方艺术史也在随着现代艺术之后的艺术观念而需再次被解构和重建。当下电影、电视、计算机虚拟技术时代到来所带来的对艺术新的理解,使得中西方艺术史陷入恐慌。中国艺术是哲学、文学、伦理相结合且极其极端的环境下成长的。将中国艺术的范围扩大化、概况化则需要上升到"形相学"层面,还需要用"中国自己的眼光"和"现代立场"重新审视。深入研究人们如何通过视觉与图像来对人类的历史、文化和人性进行研究和追索,这在图像时代到来之际显得尤为迫切。在当今越来越开放的学术环境下,中国艺术史研究是否能够回避西方学术思想和话语体系的影响而独立地存在和发展,这需要我们用开放的态度来重新审视艺术史。

The history of art is a manifestation of human＇ s aesthetical creativity in the process ot civilization, w role Chinese art history is a discipline which was established under the frame of Western art, and deeply affected by its notions and views. In the mean time, deconstruction and reconstruction are found in Western art history as modern artistic concept develops. The new understanding of modern art brought by movies, television as well as computer virtual technology causes a panic for both Chinese and Western art history. Chinese art, as a combination of philosophy, literature and ethics, blossoms in an extreme environment. We need to take a second look at of Chinese art from the perspective of ＂the Chinese＂ and ＂the modern world＂ if to amplify and specify it. An in-depth study on how people research and explore history, culture and humanity by vision and image is necessary as the Era of Picture approaches. The independent existence and the development of Chinese art history under the open and inclusive academic circumstance depend on our open attitude toward the history of art.