地域美术历史情境重建和方法问题——《青萍之末》读后兼论新时代中国美术史研究

Reconstruction of Historical Situation of Regional Artand Its Methods——The discussion of Chinese art History Studies in the New Era after reading The End of Qing Ping

《青萍之末》基于晚清广州书画名流谢兰生《常惺惺斋日记》勾连嘉道年间岭南的文人生活和艺术世界。李若晴从重建历史场景、活化历史人物、细节再现生活三个层次重建历史情境,将琐屑的“日记”转换成活的历史,并喻示近代中国大变局。但著作也存在对谢兰生的历史定位和客观评价不够,对谢的诗文画作缺乏定量的统计和研究,对征引画作缺乏分析阐释,缺少批判意识,未能形成变局观念,以及由史料研究难企史学高度等方面的不足。

The End of Qing Ping is based on the Diary of ChangxinxinZhai by XieLansheng,a Guangzhou painting and calligraphy celebrity in the late Qing Dynasty,connecting the life of the literati and the art world in Lingnan during the Jiaqing to Daoguang periods.Li Ruoqing reconstructed the historical situation from three levels:reconstructing historical scenes,activating historical figures and reproducting life in detail,transformed the trivial diary into living history,and symbolized the great changes in modern China.However,the book lacked historical positioning and objective evaluation of XieLansheng,quantitative statistics and research on Xie’s poetry,prose and paintings,and analysis and interpretation of cited paintings.Italso lacked critical consciousness,failing to form the concept of change,as well as that its research of historical materials has not reachedenough height of historiography.