今天我們聽了Griesbach教授的一個精彩的報告，他開宗明義就用希臘化時期的紀念雕像的遺蹟，考察本主的身份、銘文和樹立的位置，指出希臘化時期的城邦已經藉助紀念性雕像這種專屬於君主和權貴的藝術形式，已經轉向贊助人（恩主）和城邦有貢獻的贊助人的雕像，甚至具有私人化傾向，反映了希臘化時期的公民社會的轉型。這個報告向我們展示了歷史研究中的一種新方法，既是古典學的傳統的方法的一個擴展，也是現在圖像時代和媒介時代特別重要的方法。
古典學傳統的方法對希臘羅馬的歷史和問題的研究，過去主要是從文獻學、銘文學和語文學的角度來進行，而逐步向考古學——以實物和遺址作為對象，用地層學和類型學的方法來展開。今天我們就看到Griesbach教授熟練地用這些方法向我們展示了一種廣闊又細緻的研究技術。同時古典學也向藝術史的圖像研究推進，對古代的形象、雕像、圖畫及其形態、質感、位置和輔助裝飾紋樣逐一追究。用今天流行的話語來説就古典學也在走向“多模態研究”，而中國的多模態北京重點實驗室恰恰就設在北京大學藝術學院。所以教授的講座，使得我們更鮮活地意識到多模態研究如何進入“藝術與科學”的主題，對於人文科學和藝術史的研究有深入的可能和潛在的方向。
這次講座是北京大學藝術學院和上海外國語大學世界藝術史研究所聯合舉辦的“世界藝術史系列講座”的組成部分。“世界藝術史”在中國有着特殊的含義，就像北京大學歷史學系就設有中國古代史、中國近現代史和世界史，而這個“世界”是指中國之外的世界。同樣這也是藝術史的劃分，“世界藝術史”實際上指的是中國之外的“外國藝術史”。當然我們也有另外一個專詞來講包含中國在內的整體的人類的藝術史——稱之為“全球的藝術史”。今天當我們討論“世界藝術史”，這個名稱中既包含着歷史的一種特殊的印記，也包含着我們今天中國目前走向世界的步奏和決心，而這個工作恰恰就是我們現在舉辦“世界藝術史講座系列”的原因所在。
改革開放以後，中國在綜合性大學的藝術史的教育中，迎來了一個新的變化，就是中國不僅要研究中國自身，而且要深入研究中國之外的其他國家，並且通過對其他國家的研究，來更清晰地認識中國。再進一步，正是通過這樣的一種區域與國別研究，建立人類文明共同體的意識。特別是中國作為一個具有獨特古代文明的國家，在對古代文明之間進行研究中做到文明互鑑，來充分尋找和認識到和平發展和人類未來的一種新的方向和新的可能。這個變化正在進行中！我是1987年從中央美術學院調到北京大學來參與建立北京大學的藝術史專業，到現在為止，我們幾代學者還在努力，藝術學院的劉晨博士、賈妍博士和賀詢博士就是從事世界藝術史的專家。我們最近一次幾乎要建成的藝術史研究所是在疫情發生之前，當時的校長郝平和副校長王博邀請巫鴻教授來與朱良志和我合作建立北京大學的藝術史研究所，聯合鄭岩教授一起準備建立一個由25位教授組成的、專業研究世界藝術史的研究所，分成幾期完成，並且獲得學校的正式批准。25個人是一個什麼概念呢？就是因為這裏是北京大學，北京大學作為國家全面發展學科的需要，研究藝術史學就像北京大學研究歷史學一樣，必須關注到中國本身的各個時段和門類，也要顧及中國之外世界的各個地區和國家的整個世界文明不同時代的發展，比如説我們必須有希臘羅馬的藝術史，當然也要關心當代藝術。所以當時經過精心的計算，25個教授是一個最基本格局。不巧遇到了疫情，這個計劃暫時擱置。
李洋教授出任藝術學院院長以後，他以守正創新的精神開始着手從兩個方向推進藝術史。首先他建立了研究中國藝術史的一個基本委員會，這個委員會目前的基本工作是把中國藝術史的基本理論和方法翻譯成世界各種語言，彙集了20多位全球範圍從事中國藝術史研究的重要學者。李洋教授同時在主導國際藝術史學會（CIHA）中國分會的工作，參與國際藝術史學會官網的管理和國際藝術史學會英文學刊的發展推進，廣泛地聯絡全世界的各方面的學者，繼續在謀劃着怎麼把中國的世界藝術史的方向作為一個綜合性大學的全面整體的學科基礎加以建設，所以我們有今天的講座。當然北京大學的藝術學院還有其他的各個方向，這只是他工作中間的一個部分。
這個系列講座合作方是上海外國語大學的世界藝術史研究所。而這個研究所原來就是“北京大學視覺與圖像研究中心”（Centre of Visual Studies）的“世界部”。後來整體移到上海外國語大學，藉助這個學校52種外國語（包括古典語言）的專業優勢和區域國別發展的主導方向，相互合作，先行實驗。上海世界藝術史研究所並不需要像北京大學這樣全面地顧及世界藝術史的整體格局，而只要用數智化的方法和技術在一些要點上做出單純的前沿實驗。希臘藝術選擇的瓶畫圖像數據庫項目。埃及選擇薩卡拉項目，所以策劃了上海博物館的埃及大展。印度則集中犍陀羅，所以與敦煌、雲岡、龍門和大足等共建了國家石窟藝術聯合研究生院。
在中國怎麼來開展希臘藝術，其實是一個新的問題。現在中國的古典學當然是從西方引進，但是西方古典學起初發生在文藝復興這個非常重大的時代轉折點，此時基於對西方中世紀的回應和對應的時代需要。無論從事古典學是出於對中世紀神學的反省，或者像費奇諾一樣，用與基督教神學的“調和”的因素和方法來實現各種新興研究，忌憚於當時的基督教教會力量的強大；還是出於打破神學的籠罩，從而開闢世俗審美和個人精神自由的人文主義，應合科學與理性的現代化的需求，都要古典學的獨特任務和時代針對性，對於希臘的解釋與想象因此建造了“西方的希臘”。而正是出於對希臘的一種嚮往，所以西方很長時間以來才會把希臘和文藝復興之間、把雅典和佛羅倫薩之間，看成一個黑暗的中世紀。但是文藝復興對理性主義和現代化的需要就會促成比較側重希臘的科學和理性的發展，這種“西方的希臘”是不是“真正的希臘”，這個問題今天實際上值得反思，尤其因為中國既不是基督教文化的國家，也不是具有希臘-羅馬傳統的國家，所以反思在所難免。
中國的古典學最近有把中國自身的古文獻學和歷史上的經學和小學（文字、音韻、訓詁）涵蓋的傾向，但是對西方古典學，特別對希臘羅馬的研究，當然要繼續向西方學習，所以我們請來Griesbach教授。他不僅做今天這樣的開放與直播幾萬甚至十幾萬聽眾的公共講座，而且還要舉辦研究所內部的Seminar和Workshop，並且商討如何來開展長時段的合作。
我們的合作由於基於人工智能發展新時代，我們要檢驗人機合作需要讓機器做到那個程度，而機器和AI不能觸及人性中的那些部分，比如説“神性”（關於人的信念和信仰）的問題和“情性”（關於人的情感、情緒和個體差異性）的問題，也許是研究之內外需要重新考慮和補充的部分。在“西方的希臘”中把希臘的神學看成是一種文學，作為一種神話。這到底是一個西方的角度，還是一個希臘自己的角度？而希臘文化中的神性曾經被蘇格拉底以後理性精神斥之為迷信和愚昧的那種種“神諭”和“信仰”，那種把祭祀和犧牲看成是命運的揭示，因為希臘人曾經將之作為重大行為的決斷和日常行為的根據。如果僅僅把阿伽門農發兵特洛伊前先將自己的親生女兒磔禳（殺死剁碎）和焚祭，看作理性和科學之外的古老的迷信和傳説，把奧德賽的返鄉十年，僅僅是看成是一種迷路和旅行，那麼大概我們就再也不會理解，為什麼每一個行動都要以這個“神諭”作為起始，為什麼祭祀文化曾經是一種文明的進程。即使把神諭看成是思想猶疑之際確定動機的第一推動力，畢竟信仰是人的生存的歷史方式。
正是帶着這種問題，我們今天來聽教授的報告，我們也準備由此與教授一起對希臘的一些方法進行構建。可能中國反思，與中世紀的文藝復興的希臘，或者與德國的19、20世紀將自己認定為希臘文化後裔的反思有所不同，因為我們有不同的時代問題和文化立場。我們不會把自己當作希臘人，我們只是作為一箇中國文明的後人，尊敬希臘並願意與希臘形成面對面的互鑑。所以很希望跟教授們一起來推進共同合作的項目，今天就是一個希臘合作項目的開始，我們還可能要做一個希臘瓶畫的展覽。通過這個展覽，不是為了研究瓶畫，也不只是為了展覽，而是為了我們共同重新來反省古典研究應該從什麼不同的文化立場，在時代新的可能性之下重新開始。
Today we listened to a brilliant lecture by Professor Griesbach, who opens by examining the identity, inscriptions, and topography placement of the subjects through the Honorific Statues eikónes remains of The of Hellenistic period. He points out that the city-states of the Hellenistic period, through the use of Honorific Statues—an art form exclusive to monarchs and the powerful—had turned toward statues of patrons (patrons) and contributing patrons of the city-state, even showing a tendency toward privatization, indicting the changing of civil society during the Hellenistic period. This lecture presents us with a new approach in historical research, which is both an extension of the traditional approaches of classical studies and a method especially important in the current “age of images and media”.
Traditional classical studies for studying Greek and Roman history and issues have focused on philology, inscriptions, and linguistics, gradually moving toward archaeology—using physical objects and sites as subjects, employing stratigraphy and typological methods. Today, we see Professor Griesbach skillfully using these methods to demonstrate a broad and detailed research technique. At the same time, classical studies have advanced toward the study of images in art history, investigating ancient images, statues, drawings, and their forms, textures, positions, and auxiliary decorative patterns one by one. In today’s popular terms, classical studies are also moving toward “multimodal research,” and China’s Beijing Key Multimodal Laboratory is located here at the School of Arts at Peking University. Therefore, the professor’s lecture made us more vividly aware of how multimodal research can enter the theme of “art and science,” offering deep possibilities and potential directions for research in the humanities and art history.
This lecture is part of the “World Art History Lecture Series” jointly organized by the School of Arts at Peking University and the World Art History Institute (WAI) at Shanghai International Studies University. “World Art History” holds special significance in China, just as the Department of History at Peking University includes ancient Chinese history, modern Chinese history, and world history, and this “world” refers to the world outside of China. Similarly, this is also a division of art history; “world art history” actually refers to “foreign art history” outside of China. Of course, we also have another specialized term for the art history of humanity as a whole, including China—called “global art history.” Today, when we discuss “world art history,” the name contains not only a special historical imprint but also the current pace and determination of China moving toward the world. This work is precisely why we are now holding the “World Art History Lecture Series.”
After the reform and opening up, China has welcomed a new change in art history education at research-intensive university: China not only needs to study itself but also to deeply study other countries beyond China, and through studying other countries, gain a clearer understanding of China. Furthermore, it is precisely through such Area Studies and regional country research that a consciousness of a human civilization community is established. Especially as a country with a unique ancient civilization, China has achieved mutual learning among ancient civilizations, fully seeking and recognizing new directions and possibilities for peaceful development and the future of humanity. This change is ongoing!
I was transferred from the Central Academy of Fine Arts to Peking University in 1987 to join establishing art history major at Peking University. To this day, generations of scholars have been working hard. Dr. Liu Chen, Dr. Jia Yan and Dr. He Xun from the School of Art are experts in world art history. The most recent art history research institute we were about to build was before the pandemic. Then President Hao Ping and Vice President Wang Bo invited Professor Wu Hung to collaborate with Zhu Liangzhi and me to establish the Peking University Institute of Art History. Together with Professor Zheng Yan, we prepared to establish a 25-professor institute specializing in “global art history”, to be completed in several phases and officially approved by the university. What do 25 people mean? Because this is Peking University, and as a discipline for comprehensive national development, Peking University needs to study art history just like history studies. It must pay attention to all periods and fields within China itself, as well as the development of world civilizations in different eras of regions and countries outside China. For example, we must have Greek and Roman art history, and of course, pay attention to contemporary art. So, after careful calculations, the 25 professors formed the most basic structure. Unfortunately, the pandemic hit, and this plan was temporarily put on hold.
After becoming dean of the School of Art, Professor Li Yang began advancing art history in two directions with a spirit of upholding tradition and innovation. First, he established a basic committee for studying Chinese art history. Its current core task is to translate the fundamental theories and texts of Chinese art history into various languages worldwide, bringing together more than 20 important scholars engaged in Chinese art history research worldwide. Professor Li Yang also leads the work of the China branch of the International Association for the History of Art (CIHA), participates in managing the official website of CIHA and promoting the development of the English journal of CIHA, widely connects scholars from around the world, and continues to plan how to develop the world art history in China as a comprehensive academic foundation for a research-intensive university. That’s why we have today’s lecture. Of course, the School of Art at Peking University has other directions, but this is just one part of his work.
This series of lectures was cooperated with WAI at Shanghai International Studies University. This institute was originally the “World Department” of the “Centre of Visual Studies” at Peking University. Later, the entire institute moved to Shanghai International Studies University, leveraging the school’s expertise in 52 foreign languages (including classical languages) and its leading Area Studies and regional country research directions, collaborating and conducting experimental initiatives. The WAI does not need to comprehensively consider the overall pattern of world art history like Peking University does; it only needs to conduct cutting-edge experiments on key points using digital and intelligent methods. Greek art chose the Vase Painting Image Database project. Egypt chose the Saqqara project, so it curated the Egyptian exhibition at the Shanghai Museum last year. India focused on Gandhara, so it co-founded the National Cave Art Joint Graduate School with Dunhuang, Yungang, Longmen, and Dazu. How to develop Greek art in China is actually a new issue.
Today, Chinese Classical Studies is certainly imported from the West, but Western Classical Studies first emerged at the critical turning point of the Renaissance, a pivotal turning point in the Western Middle Ages, based on a response to the Western Middle Ages and the needs of the era. Whether the study of classics was motivated by reflection on medieval theology, or, like Ficino, using elements and methods of ‘reconciliation’ with Christian theology to carry out various emerging studies, fearing the strength of the Christian church at the time; Or to break the veil of theology and thus open up secular aesthetics and personal spiritual freedom through humanism, meeting the needs of modernization of science and reason. All these Classical Studies required the unique tasks and relevance of the times, and thus the interpretation and imagination of Greece were constructed as the ‘Western Greece.’ It is precisely out of this longing for Greece that the West for a long time regarded Greece and the Renaissance, as a dark medieval period between Athens and Florence. However, the Renaissance’s need for rationalism and modernization led to a greater emphasis on the development of Greek science and reason. Whether this “Western Greece” is the “holistic Greece” is a question worthy of reflection today, especially since China is neither a country with a Christian culture nor a country with Greco-Roman traditions, making reflection inevitable.
Recently, Chinese Classical Studies have tended to include China’s own ancient philology, historical classics, and elementary studies (script, phonology, exegesis), but for Western classical studies, especially Greek and Roman studies, we must continue to learn from the West, so we invited Professor Griesbach. He not only conducts public lectures like today, which can be open and live-streamed to tens of thousands or even hundreds of thousands of listeners, but also organizes internal seminars and workshops at the institute, discussing how to carry out long-term collaboration.
Our Collaboration Because of the new era of AI development, we need to test how human-machine cooperation requires machines to reach a certain level, and which aspects of human nature that machines and AI cannot touch—such as issues of “divinity” (beliefs, faith) and “sensation” (emotions, feelings, and individual differences)—may be areas that need to be reconsidered and supplemented both inside and outside the research. In “Western Greece,” Greek theology is regarded as literature, as a myth. Is this a Western perspective, or is it a Greek perspective? And the divinity in Greek culture was once condemned by Socrates as superstition and ignorance—the kind of “oracle” and “faith” that regarded sacrifice and sacrifice as a revelation of fate, because Greeks used to regard them as the basis for major decisions and daily behavior. If we only regard Agamemnon’s crucifixion and burning of his own daughter before his campaign against Troy as an ancient superstition and legend beyond reason and science, If we see Odyssey’s ten years of returning home merely as a loss and travel, we will probably never understand again why every action must begin with this “oracle,” or why ritual culture was once a process of civilization. Even if we see oracles as the first driving force to determine motivation during moments of hesitation, after all, faith is the historical mode of human existence.
With this question in mind, today we will listen to the professor’s lecture, and we are also prepared to work with him to construct some methodologies of Greece. Perhaps China reflects differently from the medieval Renaissance Greece, or from Germany’s 19th and 20th centuries that identify themselves as descendants of Greek culture, because we have different contemporary issues and cultural stances. We do not see ourselves as Greeks; we simply as descendants of Chinese civilization, respecting Greece and willing to engage in face-to-face mutual learning with Greece. Therefore, we very much hope to work with Professor Griesbach to advance joint collaborative projects. Today marks the beginning of a Greek cooperation project, and we may also hold an exhibition of Greek vase painting. Through this exhibition, it is not about researching vase paintings, nor just for exhibitions, but for us to collectively reconsider from different cultural perspectives in classical studies, starting anew under new possibilities of the era.
來源：北京大學 世界藝術史卓越學者對話
朱青生：中國畫研究院學術委員