民国时期美术作品中的女性形象研究
发布时间：2018-09-05 16:07
【摘要】：众所周知民国在中国的历史长河中是一个重要的变革期，新旧交融及中西文化的激烈碰撞、交流构成了民国时期独有的文化特色。社会性质的改变导致了其组成成员地位的改变，在中国古代女人隶属于男人，到了民国时期女人的地位发生了翻天覆地的变化，她们也开始为自己争取自由、平等，这在美术作品中有明显的体现。对于这一时期美术作品中的女性形象，有许多的美术家、学者都进行了深入的研究，这些研究成果对于我们对当今社会女性性的定位有深远的影响和意义。对它们进行整体的梳理、评析是当今美术家和学者的一项重要而艰巨的任务。 本文首先从封建时期社会对女性的压迫及女性对其反抗入手进行研究。整个封建时期只有盛世唐朝时女性才稍有地位，对于女性美的要求也是正常的健康的。在以后的时期尤其是明清时期，封建礼教、礼学对女性的歧视与压迫进一步加深，这一时期绘画中的女性形象多是被一些文人用来借喻自己空有才华却郁郁不得志。清末，西方文化蜂拥而至，中国内部的各种改革及运动更是进一步加剧了西方文化对中国传统文化及观念的冲击，也加速了女性自我意识的觉醒，民国时期美术作品中的女性形象很好的展示了这一现象。 其次，本文对民国时期美术作品中的女性形象进行了更多地关注。在传统中国画中仕女画是一个很重要的组成部分，画面内容多为描述上层妇女的生活。而民国人物绘画中的形象尤其是女性形象与早期的古典仕女画有着迥异的差别。20世纪初中国女学开始崭露头角，到20世纪20年代女性已经可以公开接受全面的现代教育。我国第一批全面接受现代美术教育的新女性为中国的女性艺术开创了崭新而独特的道路——对自我生命的体验。上海美专在民国早期首开使用人体模特的先河，使中国社会一片哗然。上海作为20世纪30年代中国的一个国际化大都市，其经济是畸形发展的。就是这种畸形发展的经济促使了旧上海月份牌美女广告的迅猛发展。月份牌美女图的绘制成功的糅合了中西绘画。在这里广告画中的美女形象如同商品一样在潜移默化中完成了女性形象的变迁——从家庭劳动妇女到都市时尚女性的转变。时代的变迁、社会的变革及月份牌广告画的发展都影响了中国瓷画的发展。民国“摩登女”“小脚人”瓷画作为一个新的装饰画面，反映出了民国时期的新事物和新现象，为我们研究民国女性形象提供了丰富的材料。 最后本文从民国时期美术作品中女性形象的风范与缺憾入手，指出民国时期美术作品中的女性形象是对传统女性社会地位的扬弃，女性提倡新生活、争取权利的呼声是那么轻微，特别是在男权社会毒疮化脓蔓延的状况下，在中国传统女性长期失语的背景情况下，逐渐渐糜烂并且死气沉沉的中国男权社会注入了一股新鲜的血液，那就是民国美术作品中的女性形象。 本文主要采取文献研究法、作品分析法及归结法等研究法。通过对文献的研究概括及评析，使读者能够对这一时期的绘画中的女性形象有一个整体的印象，为其作出自己的判断提供一点依据。
[Abstract]:It is well known that the Republic of China was an important period of change in the long history of China. The blending of the old and the new and the fierce collision between Chinese and Western cultures formed the unique cultural characteristics of the Republic of China. There have been tremendous changes, and they have begun to strive for their own freedom, equality, which is clearly reflected in the works of art. For the female images in the works of art in this period, many artists and scholars have conducted in-depth research, these research results have a far-reaching impact on our position of women in today's society. It is an important and arduous task for contemporary artists and scholars to sort out and analyze them as a whole.
This paper begins with a study of the oppression and resistance of women in the feudal society. Only in the prosperous Tang Dynasty did women have a slight position in the whole feudal period, and the demand for women's beauty was normal and healthy. At the end of the Qing Dynasty, western culture flocked to China. Various reforms and movements in China further aggravated the impact of western culture on Chinese traditional culture and ideas, and accelerated the awakening of women's self-consciousness. The female images in the fine arts during the period of the state show this phenomenon well.
Secondly, this paper pays more attention to the female images in the art works of the Republic of China. In traditional Chinese painting, the female paintings are an important part, and the contents of the pictures are mostly describing the lives of the upper class women. At the beginning of the 20th century, Chinese women's schools began to emerge. By the 1920s, women had been able to receive comprehensive modern education openly. The first group of new women who received modern art education opened up a brand-new and unique road for Chinese women's Art - the experience of their own lives. Shanghai Art College was the first user in the early period of the Republic of China. Shanghai, as an international metropolis in the 1930s, its economy was abnormally developed. It was this abnormal development of the economy that prompted the rapid development of advertisements for beautiful women on the old Shanghai month sign. The images of beautiful women in the paintings, like commodities, have undergone a subtle change in the image of women - from working women in the family to fashionable women in the city. The decorative pictures reflect the new things and new phenomena in the period of the Republic of China, and provide abundant materials for us to study the image of women in the Republic of China.
Finally, starting with the style and defect of the female images in the fine arts during the Republic of China, this paper points out that the female images in the fine arts during the Republic of China are the sublation of the traditional female social status, and the voice of women advocating a new life and striving for rights is so slight, especially in the situation of the spread of virulent pus in the patriarchal society. Under the background of long-term sexual aphasia, the Chinese patriarchal society, which is gradually debauched and depressed, has injected a fresh blood, that is, the female image in the art works of the Republic of China.
This paper mainly adopts the methods of literature study, work analysis and conclusion, etc. By summarizing and evaluating the literature, readers can have an overall impression of the female images in the paintings of this period, and provide some basis for their own judgment.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J205
本文编号：2224778
[Abstract]:It is well known that the Republic of China was an important period of change in the long history of China. The blending of the old and the new and the fierce collision between Chinese and Western cultures formed the unique cultural characteristics of the Republic of China. There have been tremendous changes, and they have begun to strive for their own freedom, equality, which is clearly reflected in the works of art. For the female images in the works of art in this period, many artists and scholars have conducted in-depth research, these research results have a far-reaching impact on our position of women in today's society. It is an important and arduous task for contemporary artists and scholars to sort out and analyze them as a whole.
This paper begins with a study of the oppression and resistance of women in the feudal society. Only in the prosperous Tang Dynasty did women have a slight position in the whole feudal period, and the demand for women's beauty was normal and healthy. At the end of the Qing Dynasty, western culture flocked to China. Various reforms and movements in China further aggravated the impact of western culture on Chinese traditional culture and ideas, and accelerated the awakening of women's self-consciousness. The female images in the fine arts during the period of the state show this phenomenon well.
Secondly, this paper pays more attention to the female images in the art works of the Republic of China. In traditional Chinese painting, the female paintings are an important part, and the contents of the pictures are mostly describing the lives of the upper class women. At the beginning of the 20th century, Chinese women's schools began to emerge. By the 1920s, women had been able to receive comprehensive modern education openly. The first group of new women who received modern art education opened up a brand-new and unique road for Chinese women's Art - the experience of their own lives. Shanghai Art College was the first user in the early period of the Republic of China. Shanghai, as an international metropolis in the 1930s, its economy was abnormally developed. It was this abnormal development of the economy that prompted the rapid development of advertisements for beautiful women on the old Shanghai month sign. The images of beautiful women in the paintings, like commodities, have undergone a subtle change in the image of women - from working women in the family to fashionable women in the city. The decorative pictures reflect the new things and new phenomena in the period of the Republic of China, and provide abundant materials for us to study the image of women in the Republic of China.
Finally, starting with the style and defect of the female images in the fine arts during the Republic of China, this paper points out that the female images in the fine arts during the Republic of China are the sublation of the traditional female social status, and the voice of women advocating a new life and striving for rights is so slight, especially in the situation of the spread of virulent pus in the patriarchal society. Under the background of long-term sexual aphasia, the Chinese patriarchal society, which is gradually debauched and depressed, has injected a fresh blood, that is, the female image in the art works of the Republic of China.
This paper mainly adopts the methods of literature study, work analysis and conclusion, etc. By summarizing and evaluating the literature, readers can have an overall impression of the female images in the paintings of this period, and provide some basis for their own judgment.
【学位授予单位】：河南师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J205
【参考文献】
相关期刊论文 前1条
1 党芳莉上海财经大学新闻系,朱瑾;20世纪上半叶月份牌广告画中的女性形象及其消费文化[J];海南师范学院学报(社会科学版);2005年03期
，本文编号：2224778
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