近几十年来，海外中国艺术史研究路径的演变，已然形成了一个相对完整的艺术史学科的观念模型，并对艺术史研究的方法论问题有了一定程度的反思。本文从“汉学与艺术史”之争谈起，通过对二战后到当下海外中国艺术史研究影响至今的汉学学派、艺术史学派，以及汉学与艺术史融合的三种研究路径的梳理，探究不同学派转型过程中所出现的各自不同的研究方法，管窥其各自不同的研究路径及其悬而未决的问题可能性，同时也将汉学与艺术史分界与融合的演变历程清晰地呈现出来，以期对当下尚处于探索阶段的中国艺术史亟须的范式建构与路径选择提供一定的方法论意义和研究启示。

For the past few decades， with the developments in overseas scholars' approaches to Chinese art history， there have emerged a relatively complete conceptual model in the discipline. Starting from the dispute between sinology and art history， this essay delineates the respective methodology of three major schools in Chinese art history studies since the World War II： the school of sinology， the school of art history， and that which integrates both. This article explores in particular the diverse methodologies of these schools at the intersection of paradigm shift in art history， as well as their unresolved problems. Furthermore， the distinction and integration between sinology and art history are presented in order to shed light on the choice of methodologies for the still growing discipline of Chinese art history.