摘要
此文为《道教美术史》一书的前言,是本人在撰写过程中对"道教"、"美术"和"历史"的理性思考,并对其合理必要的缀合做出了逻辑层面的探索。本文首先厘清道教美术研究的形态旨归、道教美术史的性质以及从"道教"的边线选取实物材料的基本概念;其次,提出近一个多世纪的研究探讨,道教美术史还不足以视作一个完整的学术领域。除了资料梳理与甄别,研究方法和思路的改进是当下工作的焦点;最后,就道教美术史写作而言,解读由浅入深地归纳为三个层次,并借此分解与细化,还原真实可信的历史生态。对于一些繁杂的问题,也是研究者的有效切入点,将其置于历史的语境中,以期达成一种可信赖的关联。
This thesis is the preface of the book Taoist Art History.It is my rational thinking on ‘Taoism’,‘art’ and ‘history’,and logical exploration with reasonable and necessary connection.It makes clear of the form standard of the study on Taoist art,nature of Taoist art history,as well as the basic concept of selecting materials at the edge of 'Taoism';and then it puts forward that in the research and discussion in the past century,Taoist art history is not enough to be treated as a complete academic area.Besides organization and selection of materials,study method and improvement of thought are the focus of our present work;and as to the writing of Taoist art history,our interpretation should come into three levels from the easy to the difficult and complicated,and to analyze and refine so as to revert to the believable historical state according to it.For some complicated questions,which are also effective entrances for research people,they will be put in the historical context in order to achieve a trustable connection.
出处
《南京艺术学院学报（美术与设计）》
北大核心
2011年第2期17-21,161,共5页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
道教
美术史
道教美术史
视觉材料
Taoism,art history,Taoist art history,visual material
