文章选取西赤道非洲的芳族雕像作为个案研究，探讨了西方过去半个世纪以来的艺术人类学的三种范式。第一种范式是风格分析，将雕像本体以及形态特征作为研究对象。这种定量分析方法旨在区分雕像风格以及亚风格，其目的是对于芳族的艺术生产作出地理定位。这样的类型学方法被认为带有殖民根源，服务于监管与控制的目的。第二种范式是定性分析，关注的是意义而非形式。在本土研究基础之上，人类学家将芳族雕像看做是芳族社会文化价值系统的体现。这种方法是建立在田野调查基础之上的，突出文化的独特价值与思维方式，这种方法被认为是古典文化人类学范式，承袭了博厄斯在美国所开创的学派，这种研究传统起源于十九世纪的德国。第三种范式是后殖民方法。这种范式考察了自十九世纪以来雕像进入欧洲以来西方艺术家、收藏家以及博物馆对于芳族雕像的态度。这种方式关注对这些物品的挪用，包括将它们重新标识为“艺术品”，以及它们在国际艺术市场上的商品化。%Taking Africa Fang race＇s sculpture of West Equatorial as a case study, this paper discusses three paradigms in the Western art anthropology during the last half century. The first paradigm is stylistic analysis, which emphasizing the sculpture itself and its morphological properties. This quantitative approach aimed at distinguishing sculptural styles and sub styles and its goal is mapping the art production of the Fang geographically. Such a typological approach has colonial roots and serves the purposes of surveillance and control. The second is qualitative analysis which focuses not on form but on meaning. On the basis of local research, anthropologists presented Fang sculpture as the embodiment of the Fang social cultural value system. This approach, based on fieldwork and highlighting culture＇s unique values and thinking ways, may be considered as classical cultural anthropology paradigm. It followed Franz Boas＇s teachings created in the US. This research tradition rooted in nineteenth--century Germany. The third is post--colonialism paradigm. This paradigm investigated the attitude of western artists, collectors, and museums since Fang sculpture arrived in Europe at the nineteenth--century. It pays attention to the appropriation of these things, including re--labeling them as ＂work as art＂ and their commoditization in the international art market.
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