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在20世纪以后的艺术史研究中,“方法论”一词颇为流行,也为时临危机的传统美术史学科提供了契机。尤其是21世纪以来,艺术与文化之间的博弈以及视觉功能与传统意义的彻底决裂,都使以往那种站在历史角度进行的阐释性美术史研究无所适从。但是,值得注意的是,20世纪以来以西方艺术史研究者身份存在的理论家,无论其方法是侧重形式主义抑或更多顾及艺术赖以生存的社会现实,都秉持着关注艺术本体的最终目的,只是在研究的方法上更多寻求某个观念的自足自立。随着各类学者借助方法论进入艺术史研究的系统,这种万变
In the art history research from the 20th century onwards, the term “methodology” is rather popular and provides an opportunity for the traditional arts history that is on the verge of crisis. Especially since the 21st century, the game between art and culture as well as the complete break of visual functions and traditional meanings have made the study of interpretative art history from a historical point of view overwhelmed. However, it is worth noting that theorists who have existed as researchers in the history of Western art since the 20th century have always held the ultimate aim of paying attention to the noumenon of art, no matter whether its method is formalism or social reality that more depends on the survival of art , But more in the research methods to seek more of a concept of self-sufficiency. With all kinds of scholars using the methodology into art history research system, this change