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| 編輯推薦： |
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本文集的出版，将更好地让学者们多年的研究成果推向世界，进入更有宽度、更有效的参照系，有利于在比较中提高中国美术史的研究水平，使之更完美地匹配其美术遗产的伟大品质，为世界艺术史做出应有的中国贡献。
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| 內容簡介： |
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本书介绍了中国美术发展、演变的历史，关涉文化、思想观念等诸多层面，体现了中国特有的认识及表达事物的方式，包含了中国价值评判和审美趋向，积淀深厚，名师名家组成的团队学术造诣深厚，成果斐然。
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| 關於作者： |
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Kong Lingwei is professor and dean of the School of Art Administration and Education， China Academy of Art. His research interests include history of art history， modern Chinese art history and the study of epigraphy.
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| 目錄：
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List of Contributors
Preface: Art History in History / Kong Lingwei 孔令伟
World Art Studies and the Historiography of Chinese Art / Cao Yiqiang 曹意强
From Painting on Silk to Silk Painting: Probing the Origins of Silk Painting in Ancient China / Chen Huang 陈 锽
Artists and Paintings in Chang’an Recorded by Zhang Yanyuan / Bi Fei 毕 斐
The Discussions Were all About Odes， Court Hymns， and Eulogies: The Qianlong Emperor and the Illustrations of the Classic of Songs / Wu Gan 吴 敢
An Examination of Sixteen Arhats by Guanxiu: Centered on the Copy in the Collection of Shengyin Monastery in Hangzhou / Wang Lin 王 霖
A Pictorial Depiction of “Antiquities with Flowers” / Kong Lingwei 孔令伟 191
“Visionary World” and “Classic Elegance”: Two Concepts in Wang Guowei’s Writing on the History of Chinese Art / Yang Zhenyu 杨振宇
Woodcut for Refuting Malevolent Voices—or Lu Xun’s Conundrum / Zhou Shiyan 周诗岩
Cloud-Thunder Pattern and Its Ritual Conception / Zhang Qiao 张 乔
Three Investigations on Historical Woodblock Print Sources in Xidi’s Comments on Books: In Memory of Mr. Zheng Zhenduo on His 120th Birthday / Dong Jie 董 捷
An Examination on the New Image Type for the Belief in the Lotus Sutra in Medieval China: Centered on the Images of “The Responsive Manifestation of Bodhisattva Puxian as a Female Affected by Tanyi” in Cave 3 of the Yulin Caves / Zhang Shubin 张书彬
Epilogue: The Mode of Art and Intelligence / Cao Yiqiang 曹意强
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| 內容試閱：
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The Mode of Art and Intelligence
Cao Yiqiang
The name “Art and Humanities” not only implies the connotation of our school’s 90-year of teaching and research in art history， but also indicates the ultimate goal that art history should pursue. “Humanities” define not only human dignity and the nobility of ones career， covering the qualities of human interests， values， ideological systems， and behaviours. Meanwhile， it also contains the study of human beings’ ideas and noble actions. The term “humanism” encompasses both layers of meanings， while artistic creation and research are representative products of their interactions. Accordingly， in 2007， our school was named “The Advanced School of Art and Humanities” from the original Department of Art History.
In Europe， “art” mainly refers to “fine art，” composed of painting， sculpture， and architecture. Such image-based fine arts， together with texts， have been regarded as the intellectual wings of human beings to grasp the essence of the world since ancient Greece. For this reason， issues relating to images and texts have always been important philosophical propositions in the West. In China， the earliest documents indicate that images and texts are consubstantial and complementary to each other though having different functions， and that both are intelligent means of well knowing the universe and social world， namely what are difficult to convey through texts can be depicted with images， and vice versa. The “ideas” of the western philosophy and traditional Chinese “Tao” construct two major worldviews and beliefs in its respective cultures， which， together with art and science， jointly boost the progress of human civilizations. The significance of studies of art history is， therefore， self-evident.
The time when the discipline of art history was established in western universities can be traced back to at least 1844 when G. F. Waagen (1794-1858)was appointed Professor of Art History by the University of Berlin. In the West，studies on art history originated from studies of antiquities， general history and cultural history. It was further developed with the successive emergence of connoisseurship and art criticism， formal analysis， iconography， psychology.psychoanalysis， structuralism， sociology， and new art history after the 19thcentury. The researches on traditional Chinese “art history，” by contrast， hasalways been an elegant and leisure literati activity， hidden long behind varioustypes of poetry and proses， calligraphy and paintings， epigraphic inscriptionsand seal carvings， postscripts and catalogues， correspondence and diaries.lyrics and quotations， and more. The researches mainly focus on scroll paintingand calligraphy and epigraphic antiquities， giving people palpable pleasurerather than bitter and burdensome feelings often shared by scholars workingon images and texts.
China witessed the emergence of the disciplinary teaching of art history inearly normal colleges of modern times. jiang Danshus textbook of art history.for example， was used in various art schools， Lin Fengmian， an importantpromoter of the teaching of art history， launched the “Beijing Art Conferencein May 1927 when he was the president of the National Art School in Beijinghoping to change social reality through art movement. Later， Lin travelledsouth to be the Chairman of the Art Education Committee of the Academy ofthe Republic of China， while publishing the “Letter to National Visual ArtsCircle，” reflecting on his successes and failures in Beijing. The most importantlesson he learnt was the necessity of popularising the knowledge of art theoryand art history. He said:
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