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20世纪针对山水画史“南北宗”的研究,就学术观念和研究方法而论,大致可分为两个重要时期:30年代的史学辨伪研究和80年代的美学风格阐释研究。这种分化现象的存在,一方面反映了学术思潮变迁对研究性质的影响;另一方面,也反映出画学命题本身蕴含的多义性和复杂性。厘清“南北宗”研究学术性质几经变化的潜在原因,不仅有助于对这条画论内在双重结构的认识,同时亦有学术史和文化学意义。
In terms of academic concepts and research methods, the research on the history of landscape painting “North and South Zong ” in the 20th century can be roughly divided into two important periods: the research on the pseudo-history in the 1930s and the interpretation of the aesthetic style in the 1980s. The existence of this differentiation reflects on the one hand the influence of changes in academic thought on the nature of the research; on the other hand, it also reflects the ambiguity and complexity inherent in the proposition of painting. To clarify the underlying causes of several changes in the study of the nature of the “South-North Zong” research not only contributes to the understanding of the dual internal structure of this theory, but also has academic and cultural meanings.