中国画论,可以说是东洋美术史的起源,它与所论及的美术作品一起,对日本美术的发展产生了巨大的影响。近代以来,日本的美术史学却反过来对中国有重大的贡献。在这种美术史学的发展过程中,内藤湖南有着怎样的地位呢?《支那绘画史》的作者内藤湖南,将明代董其昌的“尚南贬北论”作为美术史的基准,主张以“南宗画”即“文人画”为中心的美术进化观。并且,对于世界美术的发展,他提出了中国领先、日本第二、西洋发展最晚的主张。这种美术史观与日本的帝国主义相违背,成为中国文化民族主义的养料,促进了美术史的发展。另外,若突破“国家”意识来看,日本美术史学与中国美术史学超越国境、相互依存、共同发展,其基础正在于“中国是东洋美术的起源”这样一个共通的美术史观。 The theory of Chinese painting can be said to be the origin of the history of Oriental art. Along with the works of art under discussion, it has had a tremendous influence on the development of Japanese fine arts. In modern times, Japan’s art history has, in turn, made a significant contribution to China. In the development of art historiography, what is the status of Naito-no-Sato? Naito Fujimoto, the author of “History of Chinoi Painting”, regarded the “Shangnan derogatory North Theory” of Dong Qichang in the Ming Dynasty as the benchmark of art history, The Evolution of Fine Arts Centered on “Southern Painting”, ie “Literati Painting”. And, for the development of world art, he proposed that China lead, the second in Japan and the late-developing Western proposals. This view of art history runs counter to Japan’s imperialism and has become the nourishment of Chinese cultural nationalism and has promoted the development of art history. In addition, if we look beyond the awareness of “state,” art historiography in Japan and Chinese art historiography transcend national boundaries, develop interdependence and develop together. The basis for this is based on a common view of art history that “China is the origin of Oriental Art” .