「現代中國藝術」的定義因時間的不同而有變易，因地區的不同也有所差別。乍看之下，這個辭彙極為普遍，但其意義卻自廿世紀以來就歷經不斷的變革。本計畫擬分析美國學界對「現代中國藝術」的界定，研究的時期與主要人物涵括1950 年代的蘇利文，到1970 年代的李鑄晉，一直到1990 以後之年輕學者。這些學者當中有些並非「美國人」，很多來自中國。然而，因他們都曾在美國受過教育，活躍於美國藝術史學界，且主要以英文寫作，因此他們被歸類為「美國學界」應無疑義。這並不代表這些「美國學者」對「現代中國美術」分享著統一、不變的見解。相反地，隨著時代的變遷與個人不同的背景，他們各有主張，之間的差異時而以含蓄的方式顯現，時而非常戲劇化以致帶有修正、挑戰的意味。「現代中國藝術」的定義極為複雜，和何謂「國畫」與「現代性」等議題糾纏不清；不但中國方面有它的看法，臺灣方面有自己的看法，即連日本、美國方面也有意見。此項計畫擬細部爬梳美國藝術史學界對於此一議題的研究與爭論。美國學界的視野多少影響了我們對這個議題的認知，唯有釐清美國觀點的歷史脈絡，才能進一步釐清「臺灣觀點」或「中國觀點」的歷史脈絡。 The definition of ‘modern Chinese art’changes from time to time, and from one region to another. What the common-enough term really signifies has gone through a series of transformation since the 20th century. The main objective of this research project is to investigate the American side, to trace the development of the term ‘modern Chinese art’as used in American scholarship since the time of Michael Sullivan in the 1950s to the 1970s with scholars such as Chu-tsing Li, and finally to the present time with scholars of the younger generation. It should be noted that not all of the scholars under discussion are ‘Americans’per se, some of them are Chinese descendants. However, since most of these ‘Chinese scholars’have been quite active in American academic circles and write primarily in English, and since all of them have received partial academic training in America, they can be categorized as belonging to ‘the American side’. This is not to suggest that they all share similar views on what is ‘modern’in Chinese painting. On the contrary, as my research will demonstrate, their views are quite different, often in subtle ways and sometimes in dramatic fashion. The reason to focus on the studies made by “the American side”is simple: most art historical studies, either in texts or exhibitions, still come out of the United States. To a certain extent, the American perspective has cast significant influences on how we think of “modern Chinese art”or “guohua”. It is hoped that the present study will shed light on important aspects of the controversy over what constitutes ‘modern’in Chinese art and enable us to view the issue from a broader, historical perspective.