摘要
民国时期是中国艺术史的现代转型期,这一时期的艺术史学者都有着自觉的艺术史分期意识。艺术史分期是艺术史学者在安排阐释要素时须加以虑及的一种逻辑结果,这种分期的标准并非是客观存在的,每个研究者都有一种从自身理解艺术史而建立的分期标准。民国时期艺术史分期主要有历史学模式、形式主义模式、社会学模式、生物进化模式、唯物史观模式等五种模式,每种模式各有其特点。这些模式是西方新史学与中国传统画史不断融合的成果。艺术史分期具有模糊性、相对性和多样性,提倡从艺术史和社会史结合的角度来思考分期的标准,是对民国时期艺术史分期进一步探讨和反思的结果。
The art historians in the period of the Republic of China, the modern transition of Chinese art history, found the division of the history into periods an issue no one could evade. There was no universal criterion, and each researcher had a criterion of his own. Generally speaking, the criteria fell into five types of history, formalism, sociology, evolution and historical materialism, each of which was a fusion of the western and Chinese ideas about art history and had characteristics of its own. When looking back on the period, we argue that the division be considered from the angles of both art history and social history.
出处
《东南大学学报（哲学社会科学版）》
CSSCI
北大核心
2012年第2期86-91,127-128,共6页
Journal of Southeast University(Philosophy and Social Science)
