从全球美术史到图像性的全球史

From Global Art History to Imagery Global History

关于全球美术史的现状与未来可能,学界既有讨论还不够透彻,需要将问题与当代世界综合的思想语境联系起来,其去西方中心主义、多中心、跨文化互通的核心要旨与后现代思潮尤其是后殖民批评、全球史的史学转向等人文学科的整体氛围密切相关。正是这一背景使得中国在全球美术史叙述中占据重要的位置。概括全球美术史的研究现状,大致包括补充主义、比较主义和跨文化主义3种基本模式。这几种模式表面看来并行不悖,实际则在前提预设和历史观念等方面存在着深刻的悖论。在诸模式之上,一种新的图像性全球史显现出来。基于图像之本体,具有突破线性时间与固定空间的能量,一部图像性的全球史最完整地实现了全球史的抱负,在最根本和更激进的层面上,将历史空间化为一张全球流动的图像。在各种全球性的人文历史叙述中,这是艺术与图像能够提供的不同的、更具有启发意义的思路。

Existing discussions on the status quo and future possibilities of global art history in the academic community are still not thorough enough.It is necessary to put these issues into the overall context of today's world.The main purposes of not taking the west as the center,multiple centers and cross-cultural exchanges are closely related to postmodernism,in particular the overall environment of humanities,including postcolonial critique and the turn of global history,which helps China gain an important place in the narrative of global art history.There are three fundamental models in the current research of global art history,including complementarism,comparativism and cross-culturalism research.They seem to agree with each other,but in fact they contradict each other in terms of presuppositions and historical concepts.Among various models emerges a new imagery global history.On the basis of image,the imagery global history,with the energy to break through linear time and fixed space,fully realizes the goals of global history,and turns history into a flowing image at the most fundamental and a more radical level.In various global humanistic and historical narratives,this is a different and more inspiring thought that art and image can provide.