近年来,在美术史研究的论文中,“跨文化”、“跨学科”往往是以“创新”的方式出现,并得到认可的。所谓“新方法”、“新观点”等带着“新”字的东西,大概就是正确的、先进的。然而,实际的情况,却不如人们期许的那样。很多“新方法”、“新观点”之下的所谓成果,不仅大多是牵强的,甚至是背离的。每一种方法、观点,都有其产生的对象背景。也就 In recent years, in the research papers of art history, “interculturalism” and “interdisciplinary” often emerge and are recognized as “innovations.” The so-called “new method ”, “new point of view ” and other things with “new ” character, probably is correct, advanced. However, the actual situation is not as good as people expect. Many of the so-called achievements under the “new method” and “new viewpoint” are not only far-fetched and even deviating. Each method, perspective, has its object background. That’s it