中国美术史论学科发展简述

A brief introduction to the development of the history of Chinese art

1917年，上海商务印书馆出版姜丹书(1885~1962)编写的《美术史》，算是中国第一部现代形态的美术史著作。如果以这本书的出现为准的话，中国现代美术史论学科发展已经有整整一百年。从民国的美术史书写，到建国后的美术史论专业建设，再到1990年的美术学更名，再到2011年的艺术学门类独立，美术史论专业一步步从幼小走向成熟，曾经经历了筚路蓝缕的徘徊，现今也拥有了人文学科的担当。

一、美术史的西方源起

首先，美术史是一个发源于西方的学科概念。西方现存最早的美术史料文献始于古希腊老普林尼(Gaius Plinius Secundus 公元23~79)的《博物志》。这部巨著是一部百科全书，其中第三十五卷部分为绘画艺术篇，谈到了绘画颜料加工与雕塑制作技术，同时讲述了古希腊艺术家们的轶事和相关作品。到了文艺复兴时期意大利人瓦萨里(Giorgio Vasari 1511~1574)所著的《艺苑名人传》，是为早期较为完备的美术史著作。该书从13世纪的佛罗伦萨画家奇马布埃开始，一直写到16世纪的艺术巨匠米开朗基罗，总共讲述了200余位杰出艺术家的生平及其作品，并将艺术发展的循环论观点引入其写作之中，因而被视为美术史之父。

1719年，英国人理查森(Jonathan Richardson，1665~1745)在其《讲演二篇》(Two Discourses)中，最早提出了“艺术史”(History of Arts)的概念。而具有近代意义的艺术史观念则始于18世纪的德国人温克尔曼(Johan Joachin Winckelmann 1717~1768)，温氏在其1764年的《古代艺术史》(德语：Geschichte der Kunst des Altertums)中，以风格样式的变迁阐明艺术史，并认为“艺术史的目的在于叙述艺术的起源、发展、变化和衰颓，以及各民族、各时代和各艺术家的不同风格，并且尽量地根据流传下来的古代作品来作说明。”这部书所反映出的艺术史观念的成熟之处有二：一是确立了以作品风格作为艺术史叙事的角度，而非传统历史学的人物事件叙事，二是以看得见的作品图像去证明人类历史，而非传统历史学的用文字说话。因此温克尔曼也被视为“近代艺术史之父”。当然温克尔曼的写作中也存在一个问题，就是用“高贵的单纯静穆的伟大”这样的单一审美原则去评判古代艺术作品，被后来学者认为温氏“艺术史”思想还是没有脱离之前的鲍姆嘉通“美学”思想，还是在做一种对感性认识完善的强调，从而致使之后的德国一代代艺术史家所作的一项长久工作就是如何一步步建构“艺术史”的学科性，从“美学”的思想中独立出来。

(德)温克尔曼《古代艺术史》1764年

此处需要说明的是，德语“Kunst”的严格意思就是指造型艺术(主要就是绘画和雕塑)，说的再明确一点就是“美术”。这与1746年法国人夏尔·巴托(Charles Batteux，1713~1780)所说的“Beaux-Arts”(美的艺术，也可简称“美术”)是无法直接对应的，因为在夏氏的观点里，“Beaux-Arts”既包含作为造型艺术的绘画与雕塑，还包含有音乐、诗歌、舞蹈，更接近于我们中国人后来认为的“文艺”概念。所以德语中的艺术(Kunst)、艺术史(Kunstgeschichte)、艺术学(Kunstwissenschaft)就是我们说的美术、美术史、美术学。

19世纪，艺术史在德国正式被列为大学课程，从此“艺术史”不再是作为史学书写题材，而是作为学科建立。1833年，德国人库格勒(Franz Kugler，1808~1858)出任柏林大学艺术史教授。1844年，柏林大学正式设立艺术史教席，后1852年维也纳大学也开始设立艺术史教席。从而诞生了艺术史研究最著名的两个学派：柏林学派与维也纳学派。从整体上看，前者更倾向于作为文化史的艺术史研究角度，而后者则更加注重对作品造型风格本身的分析。到了风起云涌的20世纪，随着社会变革和文化发展，图像学、心理学、社会学等多元艺术史研究方法纷纷形成并展开，促使艺术史作为学科更加成熟，作为研究更加丰富。

1900年，德国人格罗塞(Ernst Grosse，1862~1927)出版《艺术学研究》(德语：Kunstwissenschaft Studien)，首先提出了“艺术学”(德语：Kunstwissenschaft)这个名词，格氏观点认为艺术史加艺术哲学等于艺术学，其艺术史的概念源自温克尔曼到费德勒一系，艺术哲学的概念则源自鲍姆嘉通到黑格尔一系。仍然需要强调的是这里的“艺术学”就是指美术学(其主要内容包括史和论两大部分)，与今天中国的艺术学(作为学科门类)概念并不是一回事。1906年德国人德索(Max Dessoir，1867~1947)出版《美学与一般艺术学》(德语：Asthetik und allgemeine Kunstwissenschaft)，进一步阐明了艺术学区别于美学研究的独立存在性，并首次提到了“一般艺术学”这个概念，谈到艺术起源、本质、分类等问题。此书虽仍然用“Kunst”作题目，但是讨论对象却包括了音乐、诗歌等其他艺术门类，所以德索的“一般艺术学”被视为真正艺术学的独立，可以理解为今天中国的“艺术学理论”学科。

二、美术史的中国发展

中国的所谓美术史研究，在古代主要是书画论、品、著录、史，留下了诸多文献。唐代张彦远的《历代名画记》是中国古代第一部较为科学完整的绘画史，成书年代为唐宣宗大中年间(847~859)，比意大利瓦萨里的《艺苑名人传》(初版1550年)早七个世纪。此书中，作者从对中国绘画历史发展的宏观时代考察到画家的个人记录，从作为本体的风格技法到社会的外在接受，均分章节专门论及，基本涵盖了后世对绘画作为一种艺术门类考察的所有方面，是为其成熟性。不过这种全面写作的优点，在元代之后逐渐丧失，元代之后的文人画史画论写作往往感知性增强，考察性削弱，延说性增强，辨析性削弱，从而成为近现代部分学者诟病的矛头指向。

“美学”“美术”“美术史”“艺术”等名词都是从日本引进，日本则从西方引进，尤其是“美术”“艺术”两词，译介过程较为复杂，大致情况是从晚清到民国早期，主要使用“美术”一词，1920年代之后“艺术”一词使用日渐频繁，当然这两个词的词义所指也多样，此处暂不展开。单就“美术史”而言，1882年，美国人芬诺罗萨(Ernest Francisco Fenollosa，1853~1908)在日本东京大学发表题为“The True Meaning of Fine Art”的讲演，将“美术史”(Art History)的概念引进日本。1899年，“美术史”作为正式学科名称登记于东京大学的课表中。1912年，“美术史”作为学科科目出现在民国政府教育部《师范学校课程标准》文件上，但注明“得暂缺之”(因为师资教材缺乏的缘故)，于是有了1917年商务印书馆出版的姜丹书(1885~1962)编写的涵括中西的《美术史》，算是中国第一部现代形态的美术史著作(另外在民国成立前一年有吕澂编译的《西洋美术史》)，但是无论如何在当时还是滞后于日本学者(大村西崖、内藤湖南、中村不折等)对中国美术史的研究进度。受民国整体大环境的影响，当时中国的美术史研究主要还是以日本为媒介，间接受西方影响，但也诞生了陈师曾、潘天寿、滕固、郑午昌、傅抱石、秦仲文、俞剑华等一批学者的重要著作，为后来的中国美术史研究成就奠基之功。在外国美术史领域，则有吕澂、俞寄凡、丰子恺、萧石君、倪贻德、陈之佛、史岩、钱君匋等学者的编译工作，是为中国的外国美术史写作之滥觞。

 来源：中国艺术家批评网

A brief introduction to the development of the history of Chinese art

In 1917, Shanghai Commercial Press published Jiang's (1885~1962) prepared by the "art history", is the modern form of the first China art history books. In the case of the emergence of this book, the development of the modern art of modern art in China has been developed for one hundred years. In the writing of art history, to the construction of professional art history after the founding of the PRC, and then in 1990 changed its name to 2011 art, art categories of art history of professional independence, a step by step from young to mature, have experienced a wandering, now also have to play the humanities.

First, the origin of the Western Art History

First of all, the history of art is a concept originated from the West. The earliest existing art historical documents in the West began in ancient Greek old Pliny (Gaius Plinius Secundus 23~79). This masterpiece is an encyclopedia, of which the thirty-fifth volume is part of the art of painting. It talks about the technology of painting, pigment processing and sculpture making, and tells the anecdotes and related works of ancient Greek artists. In the Renaissance Italian Vasari (Giorgio Vasari 1511~1574) by the "art celebrity biography", is a complete history of art works. The book from the cloth painter of Florence thirteenth Century, Ma Qi, until about sixteenth Century art master Michelangelo, a total of about the life and works of more than 200 outstanding artists, and the art development cycle theory into its writing, which is regarded as the father of art history.

In 1719, Richardson (Jonathan Richardson, 1665~1745) first proposed the concept of "art history" (History of Arts) in his two speech (Two Discourses). With modern art history concept began in the eighteenth Century German Winckelmann (Johan Joachin Winckelmann 1717~1768), history of ancient art in the 1764 "Wen" (German: Geschichte der Kunst des Altertums), with the change of the style of art history, and that "the art history is narrative art the origin, development, change and decay, and the different styles of all nationalities, times and artists, and as far as possible according to the handed down the ancient works to explain." Mature in this book reflects the concept of art history are two: one is to establish a style of art history as narrative angle, rather than the traditional historical figures and events narrative, two are in the works to prove the visible image of human history, rather than the traditional history in written words. So Winckelmann was also regarded as the "father of the history of modern art". Of course, there is also a problem of Winckelmann's writing, is to use "single aesthetic principle of pure solemn noble great" to judge the ancient works of art, by later scholars believe that before Wen's "art history" thought is not out of the Baumgarten "Aesthetics", or doing a perfect of perceptual knowledge that, resulting in a long work in Germany after generations of art historians do is how to build the "subject of art history", independent from the "Aesthetics" thought.

(German) Winckelmann's history of ancient art in 1764

It needs to be explained here that the strict meaning of "Kunst" in German means the plastic arts (mainly painting and sculpture), and the more clear point is "fine arts". This 1746 the French Charles Baho (Charles Batteux 1713~1780) said "Beaux-Arts" (art, also referred to as "art") is not directly corresponding, because in HA's opinion, "Beaux-Arts" is included as a plastic art of painting and sculpture, including music, poetry, dance and we are closer to the Chinese later that "art" concept. So the art in German (Kunst), the history of Art (Kunstgeschichte), and the art (Kunstwissenschaft) are the art, the history of art and the art of art.

In nineteenth Century, the history of art was formally listed as a university course in Germany. From then on, "the history of art" was no longer a subject of history, but was established as a subject. In 1833, the German Kugler (Franz Kugler, 1808~1858) was a professor of art history at the University of Berlin. In 1844, the University of Berlin formally established the art history teaching seat, and the University of Vienna began to set up an art history mat in 1852. Thus the two most famous schools of art history were born: the Berlin school and the Vienna school. On the whole, the former is more inclined to study the art history of cultural history, while the latter pays more attention to the analysis of the style of the work. In twentieth Century, with the social transformation and cultural development, many research methods of art history, such as iconography, psychology and sociology, have been formed and launched.

In 1900, Germany personality (Ernst Grosse, 1862~1927 Rosee) published "art research" (German: Kunstwissenschaft Studien), first proposed the "art" (German: Kunstwissenschaft) the term view of art history and art philosophy's equal to the art, the concept of art history from Winckelmann to Federer, the concept of the philosophy of art from Baumgarten to Hagel. It still needs to be emphasized that "art" is the two major parts of fine arts, including the history and theory, which is not the same as today's Chinese Art (as a discipline category) concept. 1906 German desault (Max Dessoir 1867~1947) published "aesthetics and general science of art" (German: Asthetik und Allgemeine Kunstwissenschaft), to further clarify the existence of art is different from the aesthetics of the independent, and the first mention of the concept of "general science of art", talked about the origin of art, nature, classification and other issues. This book is still used "Kunst" as a subject, but the object of discussion includes music, poetry and other artistic categories, so the best "general science of art" is regarded as the true art of independence, can be understood as China today "art theory" course.

Two, the development of the history of art in China

The study of the history of the so-called art history of China, in ancient times, was mainly the theory of painting, painting, writing and history, and many documents were left. Zhang Yanyuan of the Tang Dynasty "art history" is the first Chinese ancient scientific history of painting, in a book for years and Tang Xuanzong (847~859), than art celebrity biography of Vasari in Italy "(1550 Edition) as early as the seven century. In this book, the author from the macroscopic era on the historical development of China painting on the painter's personal records, as from ontology to social style and skill of external acceptance, sharing and covering the special section, later on all aspects of painting as a category of art study, for its maturity. But this kind of comprehensive writing advantages, gradually lose in the Yuan Dynasty, the Yuan dynasty literati painting writing often perceived enhanced investigation weakened, Yan said increasing of weakened, thus becoming the modern scholars criticized the spearhead.

"Aesthetics", "art" and "art history" and "art" and other terms are imported from Japan, Japan imported from the west, especially the "art" and "art" two words, the translation process is more complex, the general situation is from the late Qing Dynasty to the early Republic of China, the main use of the word "art", "art after 1920s the word used more frequently, of course this two word meaning is diverse, not out here. In terms of "art history", in 1882, Ernest Francisco Fenollosa (1853~1908) presented a speech entitled "The True Meaning of Fine Art" at University of Tokyo, Japan, introducing the concept of "art history" (Art Fenno Rosa) to Japan. In 1899, "art history" was registered in the University of Tokyo's curriculum as the name of the formal subject. In 1912, "art history" as a subject in the government of the Republic of China Ministry of education "curriculum standard of normal school" file, but marked "no" (because the teachers lack of teaching material, so the reason) in 1917 published by the Commercial Press (1885~1962) Jiang's writing covers the "Western art history". The first part is the modern form of art history books China (also in the Republic of China was established with Lu Cheng compiled "western art history" a year ago), but in any case at that time still lags behind the Japanese scholars (large village, in the village of West Cliff, Naito Hunan do not discount) of the schedule of the China art history. Affected the overall environment, the study of art history Chinese mainly to the Japanese media, indirectly affected by western countries, but also the birth of the important works of Chen Shiceng, Pan Tianshou, Zheng Wuchang, TENG Gu, Fu Baoshi, Qin Zhongwen, Yu Jianhua and a number of scholars, the research achievements for Chinese Art history foundation work. In the field of foreign art history, while Lu Cheng, Yu Jifan, Feng Zikai, Xiao Shijun, Ni Yide, Chen Zhifo, Shi Yan, Qian Juntao and other scholars of the compilation work, is the origin of Chinese foreign art history writing.

 Source: Chinese Artists Critic