本研究主要从跨文化的角度来探讨二十世纪前期国际艺术视野中“宋画”的鉴藏、展示以及画史经典形象、美术话语是如何塑造的。所谓“宋画”是指被认为创作于宋代的绘画作品。在二十世纪前期，尊崇唐宋绘画，贬明清绘画，成为东西方美术界的普遍共识。这种认识并非完全来自中国本土，而是在中国与世界交流和碰撞的过程中逐渐形成的。海外的中国绘画史写作更多的是结合日本美术刊物来认识、想象和构建中国画史；而中国更多的是偏重于文献的整理、挖掘和诠释。通过日本材料，欧美学者、艺术收藏家、博物馆界人士看到的是日本收藏的“宋画”，这些作品大多为南宋院体画或南宋风格的元画，但这几乎构成西方人认识“宋画”的全部。因此，“宋画”虽然在二十世纪前期世界艺术的视野中，一再被认为是中国传统绘画的经典，但东、西方学者的认识存在巨大的差异。在这一时期，又恰逢现代学科意义上的中国美术史建立之过程，博物馆、美术展览制度在中国的传播，以及美术界对传统绘画的再认识、再讨论的阶段。在这个过程中，既有对现存作品的鉴定、展示与话语传播，也有对宋画的画史乃至文化意义的讨论。与此同时，绘画的观众也发生了极大变化。这些错综复杂的因素无形之中形塑着“宋画”的美术话语和画史形象。通过对二十世纪前期“宋画”的鉴藏、展示与画史重塑的探讨，有助于我们勾勒传统绘画在现代文化语境中的价值和意义，探讨其在现代学科意义上的美术史学科建立过程中的地位、作用以及其他诸多问题。

This study mainly discusses from a cross-cultural perspective how the artistic discourse, collection, display, and classic images of painting history of "Song painting" were shaped in the early 20th century international artistic perspective. The so-called "Song paintings" refer to paintings believed to have been created in the Song Dynasty. In the early 20th century, it became a common understanding in the eastern and western art circles to respect Tang and Song painting and to disparage Ming and Qing painting. This understanding did not entirely come from China itself, but gradually formed in the process of communication and collision between China and the world. Overseas Chinese painting history writing was more about understanding, imagining, and constructing Chinese painting history by combinined Japanese art journals; In China, more emphasis was placed on the collation, excavation, and interpretation of documents. Through Japanese materials, European and American scholars, art collectors, and museum professionals have seen almost all of the "Song paintings" collected in Japan. Most of these works were Southern Song Dynasty courtyard paintings or Southern Song Dynasty style Yuan paintings, but this constituted almost all of the knowledge of "Song paintings" by Westerners in the early 20th century.Therefore, although "Song painting" was repeatedly regarded as a classic of traditional Chinese painting in the perspective of world art in the early 20th century, there were significant differences in the understanding of Eastern and Western scholars. During this period, it coincided with the establishment of the history of Chinese art in modern disciplines, the museums and art exhibition appeared in China, and the art community was at a stage of re-understanding and re-discussing traditional painting. In this process, people not only had the identification, display, and discourse dissemination of existing works, but also had a discussion of the painting history and even cultural significance of Song paintings. At the same time, the audience for painting had also undergone significant changed. These intricate factors had virtually shaped the artistic discourse and historical image of "Song painting". The exploration of the collection, display, and reconstruction of the history of painting of the Song Dynasty in the early 20th century will help us outline the value and significance of traditional painting in the context of modern culture, and explore its position, role, and many other issues in the establishment of the discipline of art history in the sense of modern discipline.