艺术史研究中通史研究传统的重拾

Reference to Art History Research Methodology in the Tradition of Comprehensive History Research

中国有着通史研究的传统,也不乏通史研究的大家,但这种传统的研究方式到近现代遭到来自西方学术体系强有力的冲击。艺术史的研究几乎成了西方式的艺术史研究,丧失了我们具有民族特色的、独立的学术研究体系。我们纵观海内外艺术史的研究,可以发现其诟病不仅缺乏艺术门类统筹意识,且并不认可宏观意义上的大艺术研究。但就目前艺术学的研究方法来看,大都具有通史研究的性质,可作为我国艺术史著述方法的借鉴。笔者以为,与德国的"小题大做"和美国"问题意识"研究的方法不同,中国艺术史研究应注重艺术通史的研究。中国具有深厚的通史研究传统,我们需要重拾传统,其关键不仅要展开对目前艺术史研究现状的全面评价,跟横向、纵向的专题研究相结合,更重要的是培养通史型学术人才,并借鉴其有效的体例、表述方式,建立起我们独立的艺术史学研究体系。

Taking a look at Chinese and western art history study, we find that there is a loss in unified consciousness of art category, and grand and comprehensive art research is not acknowledged. Current research methodology of art studies may all have the attribute of comprehensive history research, and could be referred to for writing and compiling of our national art history. Different from German ＂making a mountain from a molehill＂ and American ＂Problematic consciousness＂, in my opinion, Chinese art history research should pay attention to its comprehensive history study. China has a profound comprehensive history research tradition, and we should return to the tradition and cultivate qualified personnel and refer to effective rules, expressive means, and build our peculiar art history study system.