20世纪初,德语国家提出了艺术地理学概念,并将其作为不同于艺术史的领域提出。虽然艺术地理学从来没有成为一个独立的领域,但在关于艺术和艺术史的论述中,一直就存在关于艺术地理学的探讨和论述。在艺术史的概念构建并成为独立学科之前,早就有了关于艺术和建筑的地理学维度的讨论。自古希腊至今,在艺术史中能梳理出诸多对于艺术地理学的描述。其中,关于身份、区域、中心、大都会、传播、流通、交流的形式以及融合等问题,最为受到关注。当代的艺术地理学研究者,反对提出包罗万象的原则和一般性法则,重新开始关注曾经处于边缘的区域。当代的一些新方法,意味着存在建立艺术地理学乃至世界艺术史的新视角。 Early 20th century, the German-speaking countries put forward the concept of art geography, and put it as a field of art history is different from the proposed. Although art geography has never been an independent area, there has been a discussion and discussion of art geography in his discourse on art and art history. Before the concept of art history was built and became an independent discipline, there had long been a discussion of the geography of art and architecture. Since ancient Greece up to now, many descriptions of artistic geography can be sorted out in art history. Among them, the identity, the region, the center, the metropolis, the dissemination, the circulation, the exchange form and the integration and so on, receives the most attention. Contemporary art geography researchers oppose the introduction of all-encompassing principles and general laws and resume their focus on areas that were once marginalized. Some new methods of the present era mean that there is a new perspective of establishing the art geography and even the art history of the world.