本文選題：中西學(xué)術(shù)　切入點(diǎn)：國(guó)學(xué)叢刊　出處：《美術(shù)觀察》2017年09期 　論文類型：期刊論文

【摘要】：正中西學(xué)術(shù)歷來各有規(guī)范,各成體系,兩者既有交流,又有碰撞。王國(guó)維當(dāng)年為《國(guó)學(xué)叢刊》作序,就指出:"今之言學(xué)者,有新舊之爭(zhēng),有中西之爭(zhēng),有有用之學(xué)與無用之學(xué)之爭(zhēng)。"可見學(xué)術(shù)上的中西之爭(zhēng)由來已久。在美術(shù)學(xué)研究領(lǐng)域,最為重要的中西學(xué)術(shù)之爭(zhēng)應(yīng)該發(fā)生在20世紀(jì)90年代,由中國(guó)內(nèi)地去美國(guó)發(fā)展的美術(shù)史學(xué)者巫鴻,在美國(guó)出版了他的學(xué)術(shù)
[Abstract]:Chinese and Western academicians have always had their own norms and systems, and they have both exchanged and collided. Wang Guowei wrote a preface to the "Chinese Studies Series" and pointed out: "Today's scholars, there is a dispute between the old and the new, and there is a dispute between China and the West." There is a dispute between useful learning and useless learning. "it can be seen that the academic debate between China and the West has been going on for a long time. In the field of fine arts research, the most important academic dispute between China and the West should have taken place in 1990s," he said. Wu Hong, an art historian who went to the United States from the mainland of China, published his studies in the United States.
【作者單位】： 南京藝術(shù)學(xué)院;
【分類號(hào)】：J120.9

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1 汪希;分析綜合不是中西學(xué)術(shù)的分野[J];福建論壇(文史哲版);1996年03期

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