海外汉学界汉画像研究范式探讨

Exploring Research Paradigms on Han Portraits in Overseas Sinology

20世纪初期海外汉画像研究以汉学家的收藏、著录为主。20世纪30年代,汉画像研究在现代学术视域下得到复兴,汉画像成为海外汉学家认识古代中国社会文化、历史与艺术的“形象史诗”。20世纪中叶,在艺术理论发展的背景下,海外汉画像研究走向一种艺术风格学的解读。20世纪80年代后,海外汉画像研究的方法、路径与范式在新艺术史的历史语境中转向多元的文化解读与探索。对海外汉画像研究范式的探索为中国艺术研究的自律性与自觉性提供他者的参照系。汉画像乃至中国艺术研究将在传统与现代、自律与他律的交融中不断构建一个开放的话语模式。

Traditional studies on Sinology and Han portraits are based on the collections and records put together by sinologists in the early 20th century.Since the 1930s,studies on Han portraits have reentered the modern academic field.Han portraits have become the"visualized epic"for overseas sinologists to understand the social culture,history,and art of ancient China.In the mid-20th century,driven by the development of art theory,overseas studies on Han portraits shifted their focus to the interpretation of art stylistics.After the 1980s,research methods,paths,and research paradigms of Han portraits began to interpret and explore the culture in diversified manners in the context of new art history.Exploring research paradigms on Han portraits in overseas sinology provides a third-party frame of reference for the self-discipline and consciousness of Chinese art research.Research on Han portraits and even the research process of Chinese art have seen the constant building of an open discourse pattern in the blending of tradition and modernity,self-discipline and heteronomy.