比较美术学在中国的发展历程

History of the Development of Comparative Fine Arts in China

比较美术学尽管没有成为一个学科建立,但是美术方面的比较研究在汉代就有了萌芽。作为比较美术学的实践研究与有关理论研究大概在明清之际就有了,明朝时利玛窦来华带来了西方宗教绘画艺术,他也曾对中国绘画进行了评价;中国明代的顾起元对西方传教士带来的宗教绘画也有过评述,这应该是较早的中西美术交流与比较美术学方面的实践研究。此后从清人邹一桂、外籍画家郎世宁伊始至21世纪,有关比较美术学方面的主体探讨几乎未有间断。20世纪三四十年代和90年代以来是比较美术学主体研究的高峰期,出现了"美术比较"系列丛书的实践研究以及《比较美术教程》《中西比较美术学》等理论著作。时至今日,学者们提出了建构比较美术学学科的构想,从不同的角度探讨了比较美术学的理论问题和跨文化的比较研究。

Although comparative fine arts is not an established subject, the comparative studies in the field of fine arts appeared as early as in the Hart Dynasty. Practical research and related theoretical studies of com- parative fine arts emerged during the Ming and Qing Dynasties. Matteo Ricci brought Western religious painting art into China during the Ming Dynasty and he also critiqued Chinese paintings. Meanwhile, Gu Qiyuan in the Ming Dynasty also critiqued the religious paintings brought in by the Western missionaries, which can be seen as an early practical research of China - West fine art exchange and comparative fine arts. From then on, the discussion on the subject in comparative fine arts was never suspended from Zou Yigui in the Qing Dynasty, GiuseplAe Castiglione and other until the 21＇t century. A peak of the study of the subject in comparative fine arts was seen in the period between 1930s, 1940s and 1990s when practical research and theoretical works appeared such as Tutorial of Comparative Fine Arts and China - West Comparative Fine Arts. At present, scholars suggest constructing the discipline of comparative fine arts, discussing the theoret- ical and inter- cultural issues in comparative studies from different perspectives.