近代中国美术史研究的拓展与转型

Expansion and transformation of research in the modern Chinese art history

近代中国处于从传统向现代化转型的剧烈变革时期,中国的史学、文学、哲学、美术等皆在不同程度上踏上了现代化的征程。在西学东渐以及“史学革命”的潮流促动下,中国美术史学在引进与模仿、固守与创新的渐变过程中实现了向近现代化转型。以陈师曾、潘天寿、滕固为代表的近代中国美术史研究者,深受日本以及西方研究模式的影响,把国外美术史研究方法引入中国,对于启迪、促进中国美术史研究现代化转型具有显著的推动作用。以郑午昌、傅抱石、胡蛮等为代表的近代美术史家立足中国文化本体地位,坚守中国美术本体化的基础,同时吸收西方的学术方法,突破了传统研究路径,通过融合与创新,深刻拓展了中国美术史研究的新路径,亦促使中国美术史的撰写形式逐步由单一模式走向多元化发展,本土化中国现代美术史研究变得更加成熟和完善,中国美术史学亦在坚守与变通的过程中实现不断发展。

China underwent a radical transformation from traditional to modern society in the period of 1840-1949. In this context,driven by the“eastward spread of Western learning”,the Chinese historiography,literature,philosophy,and fine arts began their modernization through introduction,imitation and later innovation. Chen Shizeng,Pan Tianshou,and Teng Gu were the leading figures who introduced the Western and Japanese research methodology to China. Their attempts paved the way for the modernization of the studies on the Chinese fine arts history. Other scholars,including Zheng Wuchang,Fu Baoshi,and Hu Man,upheld excellent traditions and at the same time borrowed foreign things to make them serve the needs of China,which opened up whole new vistas for this academic field. Thanks to their hard effort,the studies on the Chinese fine arts history stepped into its own path and have been progressively developing since then.