Abstract
摘要：本所的前身為臺灣大學歷史研究所藝術史組，自1989年成為獨立所以來，發展的方向明確，即是以中國美術史為基礎，逐步擴充到亞洲藝術史研究。這種以中國藝術史為主要的教學和研究領域，和國內現有的其他藝術研究所那種齊平發展數個領域（如：中國藝術史、西洋藝術史、藝術學、美學、音樂學、藝術批評、建築史等）的措施，在專業上有很大的不同。因此本所可說是臺灣唯一的一所以中國美術史為專業基礎而發展的研究所。其次，本所專任教師除了做為第一專長的中國美術史之外，近年來更勉力開拓自身的研究領域，以亞洲的視野來掌握各項學術議題。在亞洲視野的架構下，不僅可更為合理地評估中國美術史在亞洲藝術史上的地位，同時還可具體地掌握藝術史交流中的所謂影響、以及受影響一方的接受和對應態度。而這樣的視野則是中國學界所欠缺的。至於歐美學界，除了個別傑出學者之外，中青輩部分學者雖具寬廣視野，可惜多數淺嘗即止，且欠缺對作品的鑑賞分析能力。相較之下，由於本所教師均曾有多年博物館工作經驗，具有鑑定作品真偽的能力，此也是本所的特色之一。因此，以中國美術史為基礎來了解亞洲美術史的發展，既是本所的優勢所在，也是本所的策略性方向。
Abstract: The Graduate Institute of Art History, previously the Program in Chinese Art History of the Graduate Institute of History, was established in 1989. The institute has had both clear and constant aims for its development, focusing mainly on Chinese art while slowly expanding its field of scholarship to include other aspects of Asian art.The fact that the graduate institute is primarily concerned with Chinese art makes it strikingly different from art departments at other elsewhere in Taiwan. These institutions invariably include studies of other disciplines such as western art history, art creation, music, art criticism, and architecture in their curriculum. For this reason, the Graduate Institute of Art History at Taiwan University is unique in Taiwan with respect to both its academic focus and development aims.Furthermore, professors at the graduate institute are more than just specialists. Over the past few years, they have begun exciting work in their respective fields, using a unique Asian viewpoint to address issues in a variety of academic disciplines. This perspective can be used to place Chinese art history within the framework of Asian art history as a whole. A similar strategy can also be used more broadly, analyzing how the exchange of ideas and artistic influences between different countries contributes to the development of art. And yet, this limited perspective is also the greatest weakness of Chinese scholars.Art historians in Europe and the United States, however, have a different perspective with its own inherent weakness. With the exception of a few truly exceptional scholars, the vast majority of western young Chinese art historians have a broad viewpoint that is, unfortunately, too shallow. Most western scholars lack a thorough knowledge of connoisseurship. In contrast, professors at the graduate institute have extensive museum experience and can accurately assess whether a specific piece of art is real or, in fact, a forgery or reproduction. Expertise in the connoisseurship of Chinese art is the distinguishing feature of the institute. Accurate dating and analysis of Chinese artwork allows for detailed comparisons with other works of Asian art. This ability to place Chinese art within the broader framework of Asian art history is the foremost strength of the department; continued research to resolve problems within this field remains the most important goal of the Graduate Institute of Art History at Taiwan University.
Keyword(s)
中國美術史
亞洲藝術史
作品鑑賞
Chinese Art History
Asian Art History
Connoisseurship
