Abstract: Unlike common impressions of traditional Chinese and Western painting colors, there has long been a tendency in Western art history writing to overlook and belittle colors, while American sinology has demonstrated more positive cognition of color in the writing of Chinese painting history. Compared to the classic approach of modern Western art history writing, American sinologists formed a new narrative mode for Chinese painting through multidimensional descriptions of its colors. Based on more color-oriented media environments such as color illustrations and physical exhibitions, they promote more color-conscious visual narratives. Ultimately, they achieved a breakthrough of Western art concepts from a color perspective and constructed an artistic view of form that integrates rationality and sensibility. American sinologists’ view of color in the writing of Chinese painting history presents its value for cross-cultural interaction and learning.

Key words: American sinology, color, form, media

摘要： 与人们对中西传统绘画色彩的通常印象不同,长久以来,西方艺术史写作中存在略过和贬抑色彩的倾向,而美国汉学界在对中国画史的书写中展现了更为积极的色彩认知。较之现代西方艺术史书写的经典路线,美国汉学家通过对中国画色彩的多维描述,形成对中国画的新叙述模式;基于更具色彩属性的彩色配图和实物展览等媒介环境,推动更具色彩意识的视觉叙事;最终在实质上以色彩的视角实现对西方艺术观念的突破和演进,构建理性与感性贯通的艺术形式观。美国汉学之中国画史书写中的色彩观由此呈现了自身的跨文化互动与互鉴价值。

关键词: 美国汉学, 色彩, 形式, 媒介