明清女性山水画家创作渊源探究
发布时间：2018-09-03 11:13
【摘要】：中国传统山水画史可以说是一部男性画家绘画史,女性画家既没有进入主流,也无法在画坛发挥影响力。这一点很大程度上在于当时的时代和文化背景,女性作为社会特定角色始终无法跳脱依附于男性绘画的处境。从《玉台画史》和现存的部分女性山水作品中,我们只能一窥其技法上的娴熟,笔墨的自由,但仍缺乏一种区别于男性画家的明显特质,缺乏一种独立自我的创作意识。女性山水画家只能描绘心中的丘壑,对于大自然的真实天地,她们甚少能去涉足,所以她们所描绘的丘壑,大部分只能借鉴于男性画家的作品,写实性并不强烈。 正如陶咏白和李n\在《失落的历史——中国女性绘画史》一书中开篇写道：“不是我们展现历史,而是历史展现自己,我们从沉默的历史中走来,为了不再缺席的历史。”’虽然明清女性山水画的成就远不及男性,但不可否认她们在这一领域的一定贡献,但这一贡献往往被人们忽略。女性画家的存在虽然不能拓展山水画成就的深度,却也拓展了其宽度。本文尝试从明清两朝女性山水画家作为切入点,整理和归纳出明清两朝的女性山水画家,并通过分析她们的画作来寻找她们的绘画上的某些特质,及其形成的原因和在绘画史上的地位。此外,比较闺阁女画家和青楼女画家的异同,探究女性山水画独特的艺术魅力,并以此来展望未来女性山水画家在当代国画领域中所处的社会位置以及应发挥的作用和影响。
[Abstract]:Chinese traditional landscape painting history can be said to be a history of male painters, female painters have neither entered the mainstream nor been able to exert influence in the painting world. This is largely due to the time and cultural background of the time, women as a specific role in society has always been unable to jump from the situation attached to male painting. From the history of Yutai painting and some existing female landscape works, we can only get a glimpse of the skill and the freedom of writing and painting, but still lack a kind of distinct characteristic which is different from the male painter, and a kind of independent self-creation consciousness. Female landscape artists can only describe the heart of Qiu Chi, for the real world of nature, they can rarely go to dabble, so they describe Qiu Chi, most of them can only learn from the works of male painters, realism is not strong. Just as Tao Yongbai and Li n\'s book "lost History-A History of Chinese Women's painting" begins: "it is not history that we show, but history that shows itself, we come from the history of silence in order not to be absent." Although the achievement of female landscape painting in Ming and Qing dynasties is far less than that of men, it is undeniable that their contribution in this field is neglected. Although the existence of female painters can not expand the depth of landscape painting achievements, but also expand its width. This paper attempts to sort out and sum up the female landscape painters of the Ming and Qing dynasties from the perspective of the two dynasties, and find out some characteristics of their paintings by analyzing their paintings. The reasons for its formation and its position in the history of painting. In addition, by comparing the similarities and differences between boudoir female painters and Qinglou female painters, this paper probes into the unique artistic charm of female landscape paintings, and looks forward to the social position of female landscape painters in the field of contemporary Chinese painting and their role and influence in the future.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2
，
本文编号：2219817
[Abstract]:Chinese traditional landscape painting history can be said to be a history of male painters, female painters have neither entered the mainstream nor been able to exert influence in the painting world. This is largely due to the time and cultural background of the time, women as a specific role in society has always been unable to jump from the situation attached to male painting. From the history of Yutai painting and some existing female landscape works, we can only get a glimpse of the skill and the freedom of writing and painting, but still lack a kind of distinct characteristic which is different from the male painter, and a kind of independent self-creation consciousness. Female landscape artists can only describe the heart of Qiu Chi, for the real world of nature, they can rarely go to dabble, so they describe Qiu Chi, most of them can only learn from the works of male painters, realism is not strong. Just as Tao Yongbai and Li n\'s book "lost History-A History of Chinese Women's painting" begins: "it is not history that we show, but history that shows itself, we come from the history of silence in order not to be absent." Although the achievement of female landscape painting in Ming and Qing dynasties is far less than that of men, it is undeniable that their contribution in this field is neglected. Although the existence of female painters can not expand the depth of landscape painting achievements, but also expand its width. This paper attempts to sort out and sum up the female landscape painters of the Ming and Qing dynasties from the perspective of the two dynasties, and find out some characteristics of their paintings by analyzing their paintings. The reasons for its formation and its position in the history of painting. In addition, by comparing the similarities and differences between boudoir female painters and Qinglou female painters, this paper probes into the unique artistic charm of female landscape paintings, and looks forward to the social position of female landscape painters in the field of contemporary Chinese painting and their role and influence in the future.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.2
，
本文编号：2219817
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