论九十年代后国画艺术中女性意识的表现
发布时间：2018-10-22 19:48
【摘要】：中国古代美术史中女性画家可谓寥寥无几,近代以来女性画家才逐步被认可。五四新文化运动的产生,使女性以平等身份参与到艺术与文化活动中,产生了不少女性艺术,但为数不多。建国之初,妇女的政治地位和社会地位得到空前的提高,但无差别的男女平等理论却遮蔽了女性对自身特质和潜能的发挥。直到九十年代,女性才逐渐显出其独立性,她们以女性独特的视角,给中国画注入了新的活力。 本文以中国女性国画现状为研究背景,重点以九十年代后的女性国画家为研究对象,结合她们的自身发展及其作品分析,全面的探究出了女性国画艺术中女性意识的表现。论文共分为五个部分,第一部分(绪论)总体阐述论文研究背景及国内外研究成果。第二部分(第一章)从客观的角度出发简要介绍了女性画家女性自我意识的觉醒过程。第三部分(第二、三章)是论文的主体部分,结合九十年代后女性国画艺术的现状,从艺术题材、艺术手法两方面分析女性意识在国画艺术中的表现,并深入探索出当代女性国画家的艺术特征及精神性内涵,同时揭示出了她们潜在的思想活动和多重情感体验,以及风格各异背后的共性,这是本文的重点部分。第四部分(第四章)结合自己的作品探讨女性意识的表现以及对女性国画艺术发展趋势思考。第五部分(结语)总结并扩展到整个讨论,通过对女性国画家女性意识的总结性陈述,引发人们对于中国女性绘画艺术发展的反思和期待。
[Abstract]:There are very few female painters in the history of ancient Chinese art, and female painters have been recognized gradually since modern times. The emergence of the May 4th New Culture Movement made women participate in arts and cultural activities in equal status, which produced a lot of female art, but few. At the beginning of the founding of the people's Republic of China, the political and social status of women was improved unprecedentedly, but the theory of equality between men and women obscured women's exertion of their own characteristics and potential. It was not until 1990's that women gradually showed their independence. They infused new vitality into Chinese painting with their unique perspective. This article takes the present situation of Chinese female traditional Chinese painting as the research background, focuses on the female national painters after the 1990s as the research object, combines their own development and their works analysis, comprehensively explores the female consciousness performance in the female traditional Chinese painting art. The paper is divided into five parts. The first part (introduction) describes the research background and domestic and foreign research results. The second part (Chapter one) briefly introduces the awakening process of female painter's self-consciousness from an objective point of view. The third part (the second and third chapters) is the main part of the thesis. Combining with the present situation of the female traditional Chinese painting art after the 1990s, this paper analyzes the expression of the female consciousness in the traditional Chinese painting art from two aspects of the artistic subject matter and the artistic technique. And deeply explore the artistic characteristics and spiritual connotation of contemporary female painters, and at the same time reveal their potential ideological activities and multiple emotional experience, as well as the similarities behind different styles, which is the key part of this article. The fourth part (chapter four) discusses the expression of female consciousness and the development trend of female traditional Chinese painting art. The fifth part (conclusion) summarizes and extends to the entire discussion, through the female national painter female consciousness summary statement, causes the people to the Chinese female painting art development introspection and the expectation.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2288136
[Abstract]:There are very few female painters in the history of ancient Chinese art, and female painters have been recognized gradually since modern times. The emergence of the May 4th New Culture Movement made women participate in arts and cultural activities in equal status, which produced a lot of female art, but few. At the beginning of the founding of the people's Republic of China, the political and social status of women was improved unprecedentedly, but the theory of equality between men and women obscured women's exertion of their own characteristics and potential. It was not until 1990's that women gradually showed their independence. They infused new vitality into Chinese painting with their unique perspective. This article takes the present situation of Chinese female traditional Chinese painting as the research background, focuses on the female national painters after the 1990s as the research object, combines their own development and their works analysis, comprehensively explores the female consciousness performance in the female traditional Chinese painting art. The paper is divided into five parts. The first part (introduction) describes the research background and domestic and foreign research results. The second part (Chapter one) briefly introduces the awakening process of female painter's self-consciousness from an objective point of view. The third part (the second and third chapters) is the main part of the thesis. Combining with the present situation of the female traditional Chinese painting art after the 1990s, this paper analyzes the expression of the female consciousness in the traditional Chinese painting art from two aspects of the artistic subject matter and the artistic technique. And deeply explore the artistic characteristics and spiritual connotation of contemporary female painters, and at the same time reveal their potential ideological activities and multiple emotional experience, as well as the similarities behind different styles, which is the key part of this article. The fourth part (chapter four) discusses the expression of female consciousness and the development trend of female traditional Chinese painting art. The fifth part (conclusion) summarizes and extends to the entire discussion, through the female national painter female consciousness summary statement, causes the people to the Chinese female painting art development introspection and the expectation.
【学位授予单位】：山西大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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