二十世紀初可以說是中國美術史研究的黎明期，而帶來這道曙光的則有部分來自當時的國際學者，其中如沙畹（Emmanuel-Édourd Chavannes，1865－1918）、斯坦因（AurelStein，1862－1943）、伯希和（Paul Pelliot，1878－1945）、關野貞（1867－1935）等人都是當年這個跨國界「國際」學術社群中的重要成員。對於他們的學術貢獻，學術史學界已多有討論，本文則特從藝術文物調查的角度入手，探討他們的調查工作及成果間的相關互動，以及這些成果在中國當時學術界所產生的作用，並由這個「操作」的面向試論其與藝術史在中國初萌時期所引發的帶動／遲滯反應。

 關野貞和常盤大定合著之《支那佛教史蹟》與伯希和之《敦煌圖錄》（Les grottes de Touen-Houang）可謂是二十世紀初期這波文物調查的最重要成果。它們皆是當時國際學術競勝氛圍下的產物，但又各自顯露著主其事者個人的獨特學術興趣和識見。關野貞對中國佛教史蹟的全面調查，方法可稱既徹底而科學，其論斷遂成為後繼者，如梁思成的基礎和研究競勝的動機。伯希和的《敦煌圖錄》則顯示出他對敦煌壁畫學術價值的獨到眼光。他的那批敦煌照相，在日本先有了松本榮一的圖像學研究，在中國卻未引起類似的投注，這大致只能歸因於中日兩地佛教藝術研究傳統的差別了。中國學界當時幾乎只聚焦於敦煌遺留文書之材料，對佛教藝術史的冷漠態度，如與當時上海對明清以來文人藝術的蓬勃出版相較，便不難想像。建築史的研究領域更屬新興，卻因梁思成的個人努力，以及現代式研究工具（如伯希和的《敦煌圖錄》）之相輔相成，在藝術史的範疇中，首先取得最亮眼的成績。

The early twentieth century can be considered the dawn of the study of Chinese art history, which was brought partly by the international scholars at the time, including Emmanuel-Édourd Chavannes, Marc Aurel Stein, Paul Pelliot, Sekino Tadashi among others who were all important members of this cross-border “international” academic community. There has been plenty of discussion on their academic contribution to historiography. This paper specifically approaches from the angle of the survey of cultural relics in order to investigate the interaction between their surveys and impact. This paper also explores the effects in Chinese academia as the results of these surveys, and further attempts to discuss - from the operational dimensions - how they triggered driving or slowing reactions in the rudimentary stage of art history in China. 

Buddhist Monuments in China, co-authored by Sekino Tadashi and Tokiwa Daijo, and Les grottes de Touen-Houang by Pelliot, can be regarded as the most seminal works of the cultural relics survey campaigns in the early twentieth century. They are both products of the international competitive atmosphere at the time while also revealing the individual academic interests and expertise of the principal investigators. Sekino’s methodology of comprehensive survey on Chinese Buddhist monument sites is thorough and scientific, and its judgment would become the foundation and motivation for research competition of his successors, such as Liang Sicheng. Pelliot’s Les grottes de Touen-Houang demonstrates his unique vision on the academic value of Dunhuang murals. The images of his Dunhuang photography led to the iconographic study by Matsumoto Eiichi in Japan, but it never received similar attention in China. This is probably due to the difference of the research tradition of Buddhist art in China and Japan. The Chinese academia was almost exclusively focused on the written materials in Dunhuang while being indifferent about Buddhist art history, which is not difficult to imagine given the flourishing publication in Shanghai at the time on literati art since the Ming and Qing dynasties. The field of architectural history was even more novel, nonetheless the first to deliver the most dazzling results in the field of art history due to the complementary combination of the personal efforts of Liang Sicheng and modern research tools.

沙畹; 斯坦因; 伯希和; 關野貞; 梁思成

Emmanuel-Édourd Chavannes; Marc Aurel Stein; Paul Pelliot; Sekino Tadashi; Liang Sicheng