【作者】 龙进；

【导师】 罗筠筠；

【作者基本信息】 中山大学 ， 美学， 2016， 博士

【摘要】 高居翰是中国传统绘画研究的西方学者,在面对中国绘画艺术发展和历史沉积的各种弊病的问题上,他坚持以风格分析法构建中国绘画史。在西方,高居翰所倡导的一系列“视觉命题”与伯克利艺术史系有至关重要的联系。他受到由巴克森德尔等人所倡导的艺术社会史的实践方法的影响,面对中西不同的文化差异,他试图改变西方社会对中国艺术的偏见与歧视,并在西方中国学与西方艺术史学发展的基础上,确立了新的中国艺术的研究范式。在中国绘画发展的全新语境下,高居翰对中国绘画的理解模式值得我们借鉴。在西方艺术史的背景下,他以一个外国人的身份,从绘画本身的图像、内容、含义,以及所涉及到的人文社会环境等方面,做了全面的勾勒。另外,他试图改变中国绘画中存在的问题和偏见,旨在打破以男性为主导的文人收藏、鉴赏趣味的专断性的局面。尽管有中国学者指出,高居翰的研究并不符合中国绘画的内在逻辑,但是高居翰作为西方研究中国绘画史学界最多产、最有影响和最有争议的批评家,作为得到西方学术界认可的中国绘画史权威,他建立在风格学之上的中国绘画史研究丰富了我们看待传统艺术的方式,也改变了我们对传统绘画固定模式的理解。正如谢伯柯所讲,高居翰是站在“文化相对主义”的立场上来讨论中国绘画的,即对文化传统的研究是在于对传统本身的尊敬。高居翰对中国绘画风格发展的系统研究,一直贯以“全球艺术”的视野,批判西方主流艺术史学家将中国绘画放在错觉主义的门类中。高居翰在西方价值的语境下,也同样强烈而有力地批判了中国绘画史中那些来源于传统的根深蒂固的偏见。他不仅强调历史的重要性,而且坚持风格学作为判断和解决中国绘画史中的各种问题,高居翰在其中提出了很多具有“震慑力”的观点,引发我们重新反思历史问题。更多还原

【Abstract】 James Cahill, as western researcher for Chinese paintings, still insisted in constructing the History of Chinese Painting based on style analysis, when he faced several of problems caused in the process of development. In America, during his tenure at Art History Department of Berkeley University, he advocates a series of “visual propositions”, which affected by the researchers like Baxandall etc. who advocated practical methods of The Social History of Art. In the face of differences between the two cultures, he attempted to change prejudice and discrimination from western country on Chinese art, and established a new research paradigm based on the development of western art and western Sinology.For a new context on the development of Chinese painting, the understanding pattern to Chinese painting from James Cahill is worthy of reference to us. As a foreigner in western art history background, he made a comprehensive outline from the images, content, the meaning of the painting and social environment. In addition, he attempted to change the doubt and prejudice in Chinese painting, which break the male collection, taste the arbitrary literati dominated. Despite some Chinese scholars pointed that his research is not consistent with the internal logic of Chinese painting, but Professor Cahill, as the most prolific, the most influential and controversial writer, and as the Western authority of the painting Chinese recognized by western academic community, fully established style analysis to enrich our traditional way to the history of Chinese painting, also changed the fixed mode to traditional painting.Just as Silbergeld said, Cahill is standing at the position of "cultural relativism" to discuss Chinese painting, which means to study the traditional culture based on respecting the tradition itself. For his systemic research, and with a "global art" perspective, Cahill criticized the western mainstream art historians who placed Chinese painting into illusionism categories. Under the new context of Western value, Cahill strongly critiqued those subjective and disorder assertions in the history of Chinese art. Not only Cahill emphasized the importance of Art history, but also he insisted in stylistic as the method to judge and solve various problems. In this case, he proposed a lot of ‘powerful’ viewpoints, as a result, we have to confront and rethink these historical deposition and drawbacks.更多还原