一“西方中心论”或“欧洲中心论”在美术史学界已不是什么新问题,而且,就理念而言,当今明确扬言自己推崇“西方中心论”的学者也似乎没有。但是,“西方中心论”的思想和影响仍然是存在的,而且还根深蒂固,至今未绝于耳“中国艺术与世界接轨”的论调就是明证。再看看中国学者编写的大多数外国美术史教材的内容、或看看美术院校外国美术史的教学计划,就可以明白“西方中心论”的影响。 A “Western-centered theory” or a “Eurocentric theory” is no longer a new issue in the art historiography. Moreover, as far as philosophy is concerned, there seems to be no contemporary scholar who clearly claims that they respected “Western-centered theory.” However, the thinking and influence of the “Western Center Theory” still exist and are still deeply rooted. The argument to date that “Chinese art is in line with the world” is proof. If we look at the contents of most foreign art history texts compiled by Chinese scholars or look at the teaching plans of art schools in foreign art history, we can understand the impact of Western-centered theory.