民国时期新女性绘画中的女性修辞研究

发布时间：2018-01-04 21:23

本文关键词：民国时期新女性绘画中的女性修辞研究　出处：《河南大学》2014年硕士论文　论文类型：学位论文

【摘要】：本文是一篇基础理论研究方面的科研论文。文章是对艺术学学科下具体艺术现象的关注，主要研究了民国时期新女性画家作品中女性修辞的问题。文章的中心是探讨民国时期新女性画家作品中女性修辞产生的深层原因、显著特征、表现方式以及对当下女性艺术创作理论启示的问题。影响女性画家创作的因素不仅有学术界提出的社会文化因素，还有与生俱来的自然性别之影响。生理因素决定的自然性别对艺术创作的影响由于文化的原因通常不被纳入学术研究的重点，为此遵循社会文化的角度探讨女性创作的惯例，，并结合心理学和生命科学的研究成果，将二者对艺术创作的影响置于同一层面展开对女性修辞的研究是有其合理性的。艺术是时代的触角，因此文章从包括政治、经济、文化在内的时代背景和女性基于生理特征有别于男性的自然因素提出了“女性修辞”的概念，并在此基础上从创作思维、创作目的、创作风格方面分析了民国时期新女性绘画中女性修辞的特征。从创作思维的角度看，女性绘画很少跳脱“自我生活”与其思维的情感性、叙事性、直觉性是分不开的。有别于男性画家服务社会、表现历史，云心月性的情感表达是其创作的目的所在。自然性别决定了女性画家创作风格上质的共性——长于情感指向，关注“小题材”、“小情感”。每个人都是一个独特的个体，相异的家庭环境、生活经历以及师承关系使得女性画家在表现时代共性的同时又呈现出多彩的个性特征，因此从周遭环境的q 炼和个人生命的凝聚与释放两个角度对个性创作进行了梳理，使新女性画家的探讨有共性的探讨，又有具体的分析。方君璧、潘玉良、蔡威廉、关紫兰是民国时期新女性画家的典型代表。以她们为例作个案辨析，通过题材选取、情感表达、造型语言等方面的梳理与归纳，得出了民国时期新女性画家在艺术创作中展现个体“我”的同时诠释了作为群体的“我们”具有的时代风尚的结论。从艺术研究的角度解读女性修辞，从中进行深度探讨，得到的美学向度上的自我表达之结论有其存在的合理性是全文的总结。鉴于目前女性修辞研究的滞后与角度单一化，文章提供了新的视角和今后的研究建议，丰富了学科研究体系。本文综合运用了社会学、历史学、美术学、心理学、生物科学的有关知识，采用图像学研究、文献研究、归纳研究、比较研究等研究方法，结合相关图片和文字史料进行了有针对性的理论探讨，就民国时期新女性画家作品中的女性修辞进行了自己的思考与解答，并作出了相关的展开论证。
[Abstract]:This article is a basic theoretical research paper. The article is concerned about the specific art phenomenon under the subject of art. This paper mainly studies the female rhetoric in the new female painters' works of the Republic of China. The center of the article is to explore the deep reasons and remarkable characteristics of the female rhetoric in the new female painters' works of the Republic of China. The way of expression and the enlightenment to the contemporary female artistic creation theory. The factors that influence the creation of female painters are not only the social and cultural factors proposed by the academic circles. There is also the innate influence of natural sex. The influence of natural factors on artistic creation is usually not included in the academic research for cultural reasons. Therefore, it follows the social and cultural perspective to explore the practice of female creation, and combines the research results of psychology and life sciences. It is reasonable to study female rhetoric on the same plane of the influence of the two on artistic creation. Art is the tentacles of the times, so the article includes politics and economy. This paper puts forward the concept of "female rhetoric" based on the background of culture and the natural factors of female being different from men in terms of their physiological characteristics, and on the basis of this, puts forward the concept of "female rhetoric" from the perspective of creative thinking and purpose. From the perspective of creative thinking, female painting rarely jumps off "self-living" and its emotional, narrative thinking. Intuition is inseparable. Different from male painters serving society, performance of history. The emotional expression of "moon and cloud" is the purpose of its creation. The natural sex determines the generality of the female painter's creative style-long in the direction of emotion, paying attention to the "small theme". "small emotion". Each person is a unique individual, the different family environment, life experience and teacher relationship make the female painters display the common character of the times while showing the colorful individual characteristics at the same time. Therefore from the surrounding environment of Q chain and personal life cohesion and release of two angles of personality creation combed, so that the discussion of the new female painters have a general discussion, but also specific analysis. Fang Junbi, Pan Yuliang. Cai William, Guan Zilan is a typical representative of the new female painters of the Republic of China period. Take them as a case study, through the selection of themes, emotional expression, modeling language and other aspects of combing and induction. The author draws the conclusion that the new female painters of the Republic of China displayed the individual "I" in their artistic creation and interpreted the "we" as a group in the fashion of the times, and interpreted the female rhetoric from the angle of artistic research. The conclusion that the aesthetic dimension of self-expression has its rationality is a summary of the full text, in view of the lag and the single angle of the study of female rhetoric. The article provides a new perspective and suggestions for future research, and enriches the subject research system. This paper uses the knowledge of sociology, history, art, psychology and biology, and adopts the research methods of image science, literature research, inductive research, comparative study and so on. Based on the relevant pictures and historical materials, this paper makes a theoretical discussion on the female rhetoric in the new female painters' works during the Republic of China period, and makes a related demonstration.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2

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