摘要：
将各门艺术史打通并形成一种具有艺术学理论学科构架的艺术史，是目前艺术史学科所面临的理论和实践难题，跨媒介艺术史由此成为一种可能的艺术史书写路径。它越出了单一门类艺术的狭隘视角，在一个各门艺术相互关系的宏大构架中来思考艺术的历史演变和风格消长。豪塞尔的艺术发展不平衡论、雅各布森的艺术史主导论以及跨媒介模态理论，为艺术史的跨媒介研究提供了重要的理论参照和必不可少的方法论观念。而在实践层面，至少存在着三种不同的跨媒介艺术史书写范式：主导—影响型范式、平行—比较型范式、互动—关系型范式。如何形成具有本土问题意识和理论话语的跨媒介艺术史范式，仍有待艺术学理论学科共同体的进一步探究。
关键词:
艺术史,
范式,
门类史,
跨媒介
Abstract:
Integrating various art histories and forming an art history with a theoretical framework is a
theoretical and practical problem facing the discipline of art history at present, and cross-media art history
has thus become a possible writing path. It transcends the narrow perspective of a single category of art and
thinks about the historical evolution and stylistic decline of art in a grand vision. Hauser’s Imbalance Theory,
Jacobson’s Dominant Theory and Cross-Media Modal Theory provide important theoretical references and
indispensable methodological concepts for cross-media research in art history. At the practical level, there are
at least three different paradigms of cross-media art history writing: The dominant-influence paradigm, the
parallel-comparative paradigm, and the interaction-relational paradigm. How to form a cross-media art history
paradigm with local problem awareness and theoretical discourse still needs to be further explored by the art theory research community.
Key words:
art history,
paradigm,
genre history,
cross-media
周宪. 跨学科视野下的艺术史转向|艺术史的范式转换——从门类史到跨媒介史[J]. 探索与争鸣, 2022(8): 146-155.
Zhou Xian. Paradigm Shifts in Art History: From Genre History to Cross-Media History[J]. Exploration and Free Views, 2022(8): 146-155.