摘要： 英语世界艺术汉学家的中国艺术经典研究历经三代学人的学术探索：第一代学者以文献翻译和直观鉴赏为主，奠定了中国艺术在西方的认知基础；第二代学者运用艺术风格分析方法，系统构建中国绘画史谱系，形成以风格演变为核心的经典观；第三代学者引入社会史、物质文化、空间理论等跨学科视角，拓展了经典研究的范围与方法。然而，这些研究成果虽为中国艺术经典的全球传播提供了他者之“镜”，但本质上仍是以西方学术视角置换中国艺术主体性的产物，带有显著的“置换”特征。置换既意味着以外来视角替代“我者”视角，也包含着基于自身文化语境的想象与重构。今天我们应在文明对话语境中明辨这一他者之“镜”的实质，既借鉴其有益成果，又保持清醒的文化主体性，以反思烛照中华自我迈向新的创造性境界之路。

关键词: 置换与想象, 英语世界汉学家, 文明对话, 中国艺术经典观

Abstract: The study of the Chinese art canon by Anglophone art sinologists has unfolded across three generations of scholarly inquiry. The first generation laid the foundation for Western understandings of Chinese art through textual translation and direct aesthetic appreciation. The second generation systematically constructed the historical lineage of Chinese painting by applying methods of stylistic analysis, shaping a conception of the canon centered on stylistic evolution. The third generation introduced interdisciplinary approaches such as social history, material culture, and spatial theory, broadening the scope and methodology of canonical studies. Yet while these research endeavors have provided a “mirror of the Other” for the global reception of the Chinese art canon, they remain, in essence, products of a displacement of Chinese artistic subjectivity by Western academic perspectives—characterized by a pronounced tendency toward “displacement”. Displacement here signifies not only the substitution of an external viewpoint for an insider’s perspective but also the imaginative reconstruction shaped by the scholar’s own cultural context. Today, it is imperative to discern the true nature of this “mirror of the Other” within the framework of civilizational dialogue: to draw on its valuable insights while maintaining a vigilant cultural subjectivity, and through such critical reflection, illuminate a path toward new realms of creativity for Chinese culture itself.

Key words: displacement and imagination, Anglophone sinologists, civilizational dialogue, conception of the Chinese art canon