重写艺术史: 从驱逐西方中心主义 “话语幽灵” 开始

Rewriting Art History Starting from Expelling the Western Centrism Discourse Specter

摘要:

作为一门学科, _“ 艺术史_” 首先产生于欧洲, 其艺术史观念与写作范式一直存在着根深蒂固的_“ 西方中心主义_” 色彩。 随着西方学术话语的全球化扩张, 西方中心主义作为 _“ 艺术史书写的话语幽灵_” 一直或明或暗地支配着世界各国的艺术史书写。 无论是 _“ 艺术史_{” “} 欧洲艺术史_{” “} 世界艺术史_” 还是 _“ 全球艺术史_”, 艺术史书写术语的翻新固然体现了世界各国艺术史学者对 _“ 人类艺术通史_” 书写的憧憬与努力,但并没有改变现有艺术史书写作为西方中心主义话语实践的客观事实。 从 _“ 不完整的艺术史_{” “} 不平等的艺术史_” 到 _“ 不真实的艺术史_”, 西方中心主义话语幽灵让东方艺术反复辗转于 _“ 缺席的东方_{” “} 替补的东方_” 和 _“ 易容的东方_” 三种大同小异的失语状态。 要完成世界艺术史的重写与重构, 必须从驱逐西方中心主义 _“ 话语幽灵_” 开始。

Abstract:

As a discipline，Art History first emerged in Europe，and its concept and writing paradigms have always been Western centrism. With the global expansion of Western academic discourse，Western centrism，as the discourse specter of Art History，has been dominating the writings of art history in various countries around the world，either explicitly or implicitly. Whether it is Art History，European Art History，World Art History，or Global Art History，the revision of the terminology used in art history writing reflects the aspirations and efforts of art historians to write a general history of human arts，but it does not change the fact that existing art history writing is a practice of Western centrism discourse. Re-examining the writing of world art history，we can distinguish three major phases. As Incomplete Art History，the writing of art history before the 20th century was in an unconscious state of pre-world history writing，and non-Western art was often directly ignored or overlooked. From the early 20th century to World War II，there was a clear concept of World History in the writing of art history，and art historians gradually and consciously incorporated Asia，Africa，and the Americas into the field of writing. However，influenced by the long-standing discourse specter of Western centrism，the world art history of this phase can be called the Unequal Art History. During this period，art history works often used works and phenomena from China，Japan，India，and other countries as embellishments and decorations for world art history，without giving Eastern art an equal status as European art. Since the mid-20th century，art history writing has entered its third phase. Despite the guidance of the concept of Global History，the writing of art history during this period still failed to escape the influence and control of the discourse specter of Western centrism. As Unreal Art History，the new phase of art history writing used various writing strategies such as Global History，New Art History，Art Geography or Neuro-art History to rewrite or disguise the characteristics and connotations of Eastern art，further concealing the discourse specter of Western centrism. From Incomplete Art History，Unequal Art History，to Unreal Art History，the discourse of Western centrism has led Eastern arts to repeatedly fall into three similar aphasia states：the absent East，the substitute East，and the disfigured East. To complete the rewriting and reconstruction of Art History，it is necessary to start by expelling the discourse specter of Western centrism.