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考古学研究范式对中古宗教美术研究方法论的渗透,使得美术史有必要反思方法借鉴的限度与自我学科边界所在。发轫于宿白的“区域模式论”提供了一个梳理、比较转型期下各传统间互动关系及机制的范本。“模式”是宿白自述;“区域”为笔者所总结,盖因该方法始终保持着强烈的区位性思考,并以此作为模式间的边界。考虑到至今尚未有文章从区位角度切入,解读宿白该方法论的知识生成与逻辑结构,故实有必要依据其研究案例归纳其方法的结构、知识来源、范式与生成,检验这一模型的适用性与合法性。
The infiltration of the research paradigm of archeology on the research methodology of religion and art in the Middle Ages makes it necessary for the history of art to reflect on the limit of the method reference and the boundary of the self discipline. The theory of “regional modes” which originated in Su Bai provided a model for combing the interactions and mechanisms among the various traditions under the transitional period. “Pattern ” is Su Bai’s narration; “Area ” is the author’s summary, because this method always maintains a strong position of thinking, and as a model of the border. In view of the fact that there is no article to date from the perspective of location to interpret the knowledge generation and logical structure of Su Bai, it is necessary to conclude the applicability of this model based on its research case, its structure, knowledge source, paradigm and generation And legitimacy.