石家庄学院学报

艺术史研究和写作作为对已有图像史的研究,不可避免地存在研究者与研究对象之间在时间上的距离,相应的研究结果就存在历史"错时性"问题。"错时性"是不可避免的,其存在原因与研究者自身史学观点、所处时代特征,及艺术作品的产生时代和在绵延过程中不断被阐释和应用都有一定的联系。"错时性"研究与历史误读现象有一定的联系,但是艺术史的"错时性"研究是必然的,具有不可回避性,而误读现象具有很强的人为因素和偶然性。法国20世纪新艺术史写作模式对"错时性"研究的超越,有可能为我们提供一种新的艺术史研究和写作的思想。

In the art history research and writing,there inevitably exists the time distance between the researcher and the object of research.The corresponding findings can have the "wrong time" of the history.The "wrong time" is inevitable,and its reasons for existence include the researcher's own history viewpoin,the time characteristic,and the artistic work production time and being unceasingly misred and misused.The research of "wrong time" is related to the misreading of history.However,the research of "wrong time"in art history can't be avoided,while the misreading phenomenon has the very strong human factors and chance.The new art history writing pattern in the 20th century France can possibly surpass the "wrong time" research,which can provide us with a new concept of the research of art history and writing.