Shilei Song


For the past few decades, with the developments in overseas scholars' approaches to Chinese art history, there have emerged a relatively complete conceptual model in the discipline. Starting from the dispute between sinology and art history, this essay delineates the respective methodology of three major schools in Chinese art history studies since the World War II: the school of sinology, the school of art history, and that which integrates both. This article explores in particular the diverse methodologies of these schools at the intersection of paradigm shift in art history, as well as their unresolved problems. Furthermore, the distinction and integration between sinology and art history are presented in order to shed light on the choice of methodologies for the still growing discipline of Chinese art history.


overseas studies of Chinese art history, prospects of art history, academic approaches

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