在全球化的时代,要想孤立地谈论中国美术,无论是事实层面,还是理论层面,都已不可能。近代以来,西方美术理论一直是中国美术理论变革自身范畴概念、文本结构、思维模式和审美观念的重要参照与理论基点以至于只要是西方美术理论无不竞相追捧,甚至被当成一种范式或模本,而其理论的适应度、合理性,以及在理论“旅行”过程中所发生的变迁,都束之高阁,更不顾西方美术理论自身作为一种文化语境中生成所具有的多重性、内在矛盾与歧异。反之,古典美术理论所珍视的画论,书论、品评、笔记等文本,因不合西方现代学术 In an age of globalization, it is impossible to talk about Chinese art in isolation, both in fact and in theory. Since the modern times, western art theory has always been an important reference and theoretical basis for the concept, text structure, thinking mode and aesthetic conception of the reform of Chinese art theory. As long as the Western art theory competes with it, it is even regarded as a paradigm or model , But its theories of adaptability and rationality, as well as changes in the theory of “travel ” process, are shelved, not to mention Western art theory itself as a cultural context of the multiplicity of the inherent Conflicts and differences. On the contrary, the classical theory of art value of painting, calligraphy, product reviews, notes and other texts, because they do not meet the Western modern academic