摘要
二十世纪中国美术史学从古典形态走向现代形态,其间出现了德国、日本、苏联三种主要叙述模式,而王伯敏作为二十世纪下半叶中国美术史学科研究领域的杰出带头人之一,他撰写的《中国绘画通史》在以下三个方面取得突出成就:一、史料的拓展使中国绘画史研究朝着“真实”“全面”迈出了历史性一步;二、在批判地继承中国传统朴学的基础上,集其大成地创立了绘画史叙事方式的新模式;三、知行合一,经世致用,关注中国绘画的前途与命运。史学品格与艺术品格的完美统一决定了《中国绘画通史》将对今后的美术史学研究产生持久而深远的影响。
The History of Chinese Painting by Prof Wang Bomin is characterized by the three following points： （1） More historical materials are utilized to lead the study of Chinese painting history towards truth and completeness; （2） On the basis of criticizing and absorhing the experimental studies, the traditional Chinese science, the book has constructed a new pattern of narration of painting history; （3） It has combined the theory and practice of studying the history of Chinese painting and attaches great importance to the prospect of Chinese painting. It will bring a good while and far-reaching influence to the study of art history in virtue of the perfect unification of the historiography and art characters for the future.
出处
《北京理工大学学报（社会科学版）》
2005年第6期3-5,共3页
Journal of Beijing Institute of Technology：Social Sciences Edition
关键词
史料
史述
资艺通鉴
historical materials
historical narration
pattern
make suggestions for painter
