专题研究

蒙古宫廷和江南文人：谈20世纪80年代以来元代艺术研究及人文学科的发展⁽¹⁾

洪再新

文章概要

三十年前，风格研究和语境研究是西方中国画研究的两大面向。三十年来，随着中国和海外中国画研究的齐头并进，艺术社会史的考察日渐趋于博大精微，使过往单一语境中对于“视觉命题”的考察转向跨语境范畴，切实地丰富了人们对中国画及其观众关系的认识。按照《世界3》本辑的主旨，本文以20世纪80年代以来的元代艺术研究为对象，集中地体现国内外中国艺术史学和人文学科发展的特色。其核心议题之一，是长期被忽视的蒙古宫廷和江南文人的关系。围绕这一重点，可以引出艺术社会史的诸多面向，进而对整个人文学科演变的大势进行较为深入和独特的观察。

Abstract

Three decades ago, there were two major trends of the study of Chinese painting in the West, namely, stylistic study and contextual study. Ever since, the study of Chinese art history both in the West and in China has been merging mainly into the social history of art. In so doing, the field signi ficantly expands its scope from a single context to a cross-contextual paradigm to reconsider the extant perception of Chinese painting and its audiences by unfolding the“visual argument”in the given period and in general history as well. Echoing the theme of the current issue of World 3, this article takes the art of the Yuan China under the Mongols as an example to define the characteristics of Chinese art historiography as a humanistic discipline both in China and abroad. Focusing on an important yet long-neglected relationship between the Mongol Court and Chinese literati from Jiangnan (the South of Yangtze River)during the Yuan period, the article provides a uniquely in-depth observation on the new trends in the humanistic studies of our times by unveiling a multifaceted reality of the social history of art.