自80年代以来,四方艺术史学科的发展出现了一些新的变化。这些变化的原因部分是来自对艺术史学科自身历史发展的反思和重新认识,部分是受到当代西方学术大背景的刺激和挑战的影响。许多中青年一代的艺术文学者越来越意识到,作为一门年轻学科的艺术史在19世纪末20世纪初之文交曾处于理性生活的最前沿,而到了60—70年代却大大落后了。在艺术史研究领域,至少有两三代学者已停止了理论性的思维活动。艺术史学科的先驱者温克尔曼、莫雷利、李格尔、沃尔夫林等人所开创的学术研究和思想体系,在今天已巳退化成为一种毫无创见的常规职业,并在艺术市场和博物馆收藏的压力下逐步变成了一种碌碌无为的学术机器。其中一个最有趣的现象就是,本世纪初从艺术史学科发展出来的理论和方法体系,如艺术意志 Since the 1980s, some new changes have taken place in the development of the art history of the Quartet. Part of the reason for these changes stems from the rethinking and re-understanding of the historical development of the art history itself, partly influenced by the stimuli and challenges of the contemporary Western academic background. Many young and middle-aged art writers are increasingly aware that art history as a young subject was at the forefront of rational life in the late 19th and early 20th centuries, and lagged far behind in the 1960s and 1970s. In the field of art history research, at least two or three generations of scholars have stopped the theoretical thinking activities. The academic research and ideological system initiated by Winkelman, Morelli, Ligel, and Wolflin, pioneers of the history of art, has degenerated into a nonviable and routine profession today Under the pressure of art market and museum collection gradually become a mediocre academic machine. One of the most interesting phenomena is the theoretical and methodological system developed from the history of art history early this century, such as art will