【摘要】 全球史视域中19世纪后半叶至20世纪初英国的中国风从中国文化物质消费时尚转向中国文物鉴藏话语之勃兴。在中英两极间的中国文物全球销售和鉴藏网络中，中国文物鉴藏话语涉及文物和知识迁徙、文物的博物馆化和知识的在地重构、对文明精粹文物在最高层级的鉴藏美学阐释和创造性转化三个主要环节。其知识生产涵盖以下三个主要方面：全球体系中的中国文物销售和鉴藏网络；以大英博物馆、柏灵顿美术俱乐部和东方陶瓷学会为代表的中国文物鉴藏机构；博物馆中的中国文物鉴藏研究。西方现代文明以现代主义为表征的自我反思和批判精神与中华古典文明的高级形态和成就两相契合，催发了中国文物鉴藏话语的勃兴，生成了与西方现代主义先锋美学平行的对中国古典文明艺术精神的持续阐释和对世界范围内各文明形态的价值重估。更多还原

【Abstract】 In the perspective of global history Chinoiserie in England experienced a turn from the vogue of Chinese cultural material consumption to the thriving of the discourse of Chinese antique connoisseurship and collection from the second half of the 19th century to the early 20th century.In the global network of Chinese antique sales,connoisseurship and collection polarized between China and England,the discourse of Chinese antique connoisseurship and collection involves three major sections such as the migration of antiques and knowledge,the museumification of antiques and the reconstruction of knowledge in site,and the appreciative aesthetic interpretation and creative translation of antiques as the quintessence of civilization at the highest level.Its knowledge production includes the following three main aspects:the sales,connoisseurship and collection network of Chinese antiques in the global system;institutions of Chinese antique connoisseurship and collection represented by the British Museum,the Burlington Fine Arts Club and the Oriental Ceramic Society;the connoisseurship of Chinese antiques in museums.The self-reflective and critical spirit of modern Western civilization symptomatic in Modernism corresponds to the superior form and achievements of ancient Chinese civilization,adds up to the thriving of the discourse of Chinese antique connoisseurship and collection,and generates the constant interpretation of the artistic spirit of ancient Chinese civilization and re-evaluation of different civilizations the worldwide which is parallel to Western Modernist avant-garde aesthetics.更多还原