艺术科学的本体之辨——论中国艺术史作为一种现代性知识装置

The Ontological Thinking of Art Studies: Chinese Art History as an Intellectual Apparatus

中国艺术史的现代生成以中国史学革命为契机,诞生于科学革命思潮。中国艺术史的研究对象作为视觉材料被中国新史学视为改革的重心,因而艺术史最初被当作科学知识的整体象征。在具体的语义层面,词与义的分庭实际是科学与艺术对艺术史的割据;art译语的异质性反映了20世纪初中国艺术史家借用西方科学知识的概念实现中国艺术史学科本位现代性的意图,也是为了恢复艺术概念在中国古代已然蕴含的科学精神。由此,中国艺术和中华民族共同体同时实现历史化。中国艺术史在历史脉络上与中国古代知识体系是延续的,同时也具备同西方现代学科对话的语汇,这为其艺术本体创造了共时、合法的中介价值。

The modern emergence of Chinese art history was born out of the revolutionary thinking of science, with the revolution in Chinese historiography as an opportunity. The object of study in Chinese art history was reused as visual material by the new Chinese historiography, and thus art history was initially used as a symbol of scientific knowledge as a whole. At a concrete semantic level, the division between word and meaning is actually a fragmentation of art history by science and art. The heterogeneity of the art translation language reflects the fact that the early Chinese art historians, borrowing the concept of Western scientific knowledge, achieved a modernization of the discipline of Chinese art history, with the aim of recovering the scientific spirit already embedded in the concept of Yi-Shu in ancient China, thus historicizing both Chinese art and Chinese people. Chinese art history is historically continuous with the ancient Chinese knowledge system, but it also possesses the vocabulary for dialogue with modern Western disciplines, creating a stable and legitimate agency for its disciplinary identity.