从中国艺术史到文图学｜From Chinese Art History to Text and Image Studies

 

DOI:

https://doi.org/10.5281/zenodo.19107490

SSRN

Abstract

This article examines the scholarly legacies and methodological paradigms of six pivotal figures in the study of Chinese art history: James Cahill (1926–2014), Wen C. Fong (1930–2018), Joan Stanley-Baker (1934– ), Wu Hung (1945– ), Shih Shou-chien (1951– ), and I Lo-fen (1964– ). Rather than treating these six as simply parallel contributors, the article maps the distinct ways in which each relates to the Princeton School founded by Wen Fong. Shih Shou-chien completed his training under Fong and carried the structural-formalist method into Taiwan's institutional art history, subsequently mentoring I Lo-fen. Joan Stanley-Baker began doctoral studies under Fong at Princeton but departed without completing her degree following fundamental disagreements over method and temperament; she later earned a PhD from Oxford, and her 'brushwork behavior' methodology constitutes a critical counter-response to the Princeton training she had first absorbed. James Cahill trained under Max Loehr at the University of Michigan with no institutional connection to Princeton, developing an independent social-economic historiography of Chinese painting. Wu Hung brings a wholly distinct formation: trained at the Central Academy of Fine Arts and the Palace Museum in Beijing, then at Harvard under archaeologist Kwang-chih Chang, he has developed a spatial-temporal critique centered on monumentality, medium and representation, and the aesthetics of ruins — a path independent of all other traditions represented here, whose engagement with the mechanisms of viewing (especially in The Double Screen) enters into direct dialogue with Text and Image Studies. Against this genealogical background, the article systematically compares all six scholars across five dimensions: academic positioning, core methodology, treatment of text-image relations, shared concerns, and fundamental divergences. Special attention is given to I Lo-fen's Text and Image Studies as the field's most theoretically self-conscious contemporary development, arguing for its fourfold innovation — disciplinary construction, relational ontology (from 'interaction' to 'intertextual generation'), historical reach from classical painting to the AIGC era, and methodological universality — as a new humanistic framework for the age of generative AI.

摘要

本文以高居翰（James Cahill）、方闻（Wen C. Fong）、徐小虎（Joan Stanley-Baker）、巫鸿（Wu Hung）、石守谦（Shih Shou-chien）与衣若芬（I Lo-fen）六位学者为考察对象，从学术谱系、研究范式、核心方法论、共同关怀与最大差异五个层次展开系统比较。

文章梳理六位学者与普林斯顿学派之间各异的师承与渊源关系——石守谦为方闻的传承弟子，衣若芬为石守谦的学术后裔。徐小虎曾师从方闻，因学术与性格分歧未获学位而离开，后转赴牛津取得博士。高居翰师从密歇根大学 Max Loehr（罗越）。巫鸿则兼具中央美院—故宫与哈佛—张光直的双重训练背景，独立发展出空间—时间批评路径——在此基础上，重点论证文图学（Text and Image Studies）在学科建构、关系论、时代性与普适性四个维度上的创新突破与当代价值。

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Citation

I Lo-fen. 2026. "From Chinese Art History to Text and Image Studies" Zenodo. https://doi.org/10.5281/zenodo.19107490.

衣若芬。2026。《从中国艺术史到文图学》。预印本，Zenodo。https://doi.org/10.5281/zenodo.19107490。