明清与当代女性人物画家比较研究

发布时间：2018-05-27 23:36

本文选题：女性绘画 + 时代性　；参考：《河北师范大学》2013年硕士论文

【摘要】：关于女性绘画,一种观点认为,“由女性创作的,用女性的角度描绘女性生活及展现女性精神情感,并采用女性独特的表现形式的绘画,称为女性绘画。”另一个观点认为，出自女性手笔的绘画，被称为女性绘画。前者的界定更为严格。女性绘画是女性艺术中的一项主要方式，现在太多的态度是用性别的角度去区分“女性艺术”，此时的女性画家早已经厌倦了从性别的角度去划分艺术创作。她们开始回归安静的思考，思考未来的画面，故此我们应该回望中国女性绘画史，看看她们曾走过的路。本论文选择了两个时间段进行比较：明清时代女性人物绘画同当代女性人物绘画。本论文共分四部分。第一部分为时代背景之比较。通过时代背景的特征和画家本体价值观的不同，令她们对绘画的功能均有不同的认识。第二部分比较她们的出身和职业，，教育三个方面在影响女性人物画家的艺术成就高低的差异。古代女性人物绘画“隐而弗彰”的外界与自身的原因，主要来自封建社会对女性的束缚和她们缺乏创作自觉性两方面。第三部分是画家创作表达之比较，着重探索两时期女性画家个人意识的萌发和个人意识对画面的影响,分析每一时期代表人物的艺术成就。以及个人意识渗透进画面的方式的讨论，能够论证两个时间段女性人物画家对绘画语言的探索及贡献。通过研究总结，在第四部分中,论文形成以下主要结论和观点：明清女性人物画家的创作优势是心灵回归安静，以及相对纯粹的思想，这是十分值得当代女性人物画家所学习的。同时，当代女性人物画家带有强烈个人意识的表达在创作中突现出来，也是非常值得继续发扬下去的。同时明清和当代女性人物画家的局限性皆是缺乏艺术创作的自觉性和绘画语言的创造性。这些思辨都可以指导未来女性人物画家的艺术创作方式。
[Abstract]:With regard to women's painting, one view is that, "painting created by women, depicting women's life and showing their spiritual feelings from the perspective of women, and the use of women's unique forms of expression, is called female painting." Another view is that paintings by women are called female paintings. The former is more strictly defined. Female painting is one of the main ways in female art. Now too much attitude is to distinguish "female art" from the angle of gender. At this time, female painters have already tired of dividing artistic creation from the angle of gender. They begin to think quietly and think about the future, so we should look back at the history of Chinese women's paintings and see the way they have gone. This thesis chooses two time periods to carry on the comparison: the Ming and Qing dynasties female figure painting and the contemporary female figure painting. This paper is divided into four parts. The first part is the comparison of the background of the times. Through the characteristics of the background and the different values of the painter Noumenon, they all have different understanding of the function of painting. The second part compares their background, occupation and education. The external and self reasons of ancient female figure painting are mainly from the bondage of feudal society to women and their lack of creative consciousness. The third part is the comparison of painters' creation and expression, focusing on exploring the germination of female painters' personal consciousness and the influence of their personal consciousness on the picture, and analyzing the artistic achievements of the representative figures in each period. And the discussion of the way of personal consciousness infiltrating into the picture can demonstrate the exploration and contribution of female character painters to the painting language in two periods. In the fourth part, the thesis forms the following main conclusions and viewpoints: the advantages of the female painters in the Ming and Qing dynasties are the return of the mind to quiet, and the relatively pure thoughts. This is very worthy of contemporary female painters to learn. At the same time, the expression with strong personal consciousness of contemporary female figure painters is also worthy of further development. At the same time, the limitations of both Ming and Qing dynasties and contemporary female figure painters are lack of artistic consciousness and creativity of painting language. These speculations can guide the artistic creation of future female character painters.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J209.2

【共引文献】