近现代以来,德语美术史学逐渐影响中国。在近半个世纪的时间里,分别从哲学观念和美术史学的两个层面,为近现代中国美术史学提供了诸多思想资源,成为一条学术史上的“隐在之链”。在这条“巨链”上,一个目标是努力建立和整理有关往昔艺术的文献与考古知识,在清季民初的史学发达上我们可以清晰地看到这种倾向;另一个目标则在新的文化环境中重铸美术的观念,以便把握美术创造和发展的风格与意图的多样性。事实上,两种目标互为前提。 Since the modern times, German art historians have gradually influenced China. In the past half century, it has provided many ideological resources for the art historiography in modern China from both the philosophical conception and the art historiography. It has become a “hidden chain” in the academic history. In this “giant chain,” one goal is to work hard to establish and collate the literature and archeology about the art of the past. We can clearly see this tendency in the history of the Qing Dynasty and the early Republic, and the other is in the new In the cultural environment to recast the concept of art in order to grasp the diversity of art style and intention of creation and development. In fact, the two goals are premised on each other.