【摘要】：眾所周知民國在中國的歷史長河中是一個(gè)重要的變革期，新舊交融及中西文化的激烈碰撞、交流構(gòu)成了民國時(shí)期獨(dú)有的文化特色。社會(huì)性質(zhì)的改變導(dǎo)致了其組成成員地位的改變，在中國古代女人隸屬于男人，到了民國時(shí)期女人的地位發(fā)生了翻天覆地的變化，她們也開始為自己爭取自由、平等，這在美術(shù)作品中有明顯的體現(xiàn)。對(duì)于這一時(shí)期美術(shù)作品中的女性形象，有許多的美術(shù)家、學(xué)者都進(jìn)行了深入的研究，這些研究成果對(duì)于我們對(duì)當(dāng)今社會(huì)女性性的定位有深遠(yuǎn)的影響和意義。對(duì)它們進(jìn)行整體的梳理、評(píng)析是當(dāng)今美術(shù)家和學(xué)者的一項(xiàng)重要而艱巨的任務(wù)。 本文首先從封建時(shí)期社會(huì)對(duì)女性的壓迫及女性對(duì)其反抗入手進(jìn)行研究。整個(gè)封建時(shí)期只有盛世唐朝時(shí)女性才稍有地位，對(duì)于女性美的要求也是正常的健康的。在以后的時(shí)期尤其是明清時(shí)期，封建禮教、禮學(xué)對(duì)女性的歧視與壓迫進(jìn)一步加深，這一時(shí)期繪畫中的女性形象多是被一些文人用來借喻自己空有才華卻郁郁不得志。清末，西方文化蜂擁而至，中國內(nèi)部的各種改革及運(yùn)動(dòng)更是進(jìn)一步加劇了西方文化對(duì)中國傳統(tǒng)文化及觀念的沖擊，也加速了女性自我意識(shí)的覺醒，民國時(shí)期美術(shù)作品中的女性形象很好的展示了這一現(xiàn)象。 其次，本文對(duì)民國時(shí)期美術(shù)作品中的女性形象進(jìn)行了更多地關(guān)注。在傳統(tǒng)中國畫中仕女畫是一個(gè)很重要的組成部分，畫面內(nèi)容多為描述上層?jì)D女的生活。而民國人物繪畫中的形象尤其是女性形象與早期的古典仕女畫有著迥異的差別。20世紀(jì)初中國女學(xué)開始嶄露頭角，到20世紀(jì)20年代女性已經(jīng)可以公開接受全面的現(xiàn)代教育。我國第一批全面接受現(xiàn)代美術(shù)教育的新女性為中國的女性藝術(shù)開創(chuàng)了嶄新而獨(dú)特的道路——對(duì)自我生命的體驗(yàn)。上海美專在民國早期首開使用人體模特的先河，使中國社會(huì)一片嘩然。上海作為20世紀(jì)30年代中國的一個(gè)國際化大都市，其經(jīng)濟(jì)是畸形發(fā)展的。就是這種畸形發(fā)展的經(jīng)濟(jì)促使了舊上海月份牌美女廣告的迅猛發(fā)展。月份牌美女圖的繪制成功的糅合了中西繪畫。在這里廣告畫中的美女形象如同商品一樣在潛移默化中完成了女性形象的變遷——從家庭勞動(dòng)?jì)D女到都市時(shí)尚女性的轉(zhuǎn)變。時(shí)代的變遷、社會(huì)的變革及月份牌廣告畫的發(fā)展都影響了中國瓷畫的發(fā)展。民國“摩登女”“小腳人”瓷畫作為一個(gè)新的裝飾畫面，反映出了民國時(shí)期的新事物和新現(xiàn)象，為我們研究民國女性形象提供了豐富的材料。 最后本文從民國時(shí)期美術(shù)作品中女性形象的風(fēng)范與缺憾入手，指出民國時(shí)期美術(shù)作品中的女性形象是對(duì)傳統(tǒng)女性社會(huì)地位的揚(yáng)棄，女性提倡新生活、爭取權(quán)利的呼聲是那么輕微，特別是在男權(quán)社會(huì)毒瘡化膿蔓延的狀況下，在中國傳統(tǒng)女性長期失語的背景情況下，逐漸漸糜爛并且死氣沉沉的中國男權(quán)社會(huì)注入了一股新鮮的血液，那就是民國美術(shù)作品中的女性形象。 本文主要采取文獻(xiàn)研究法、作品分析法及歸結(jié)法等研究法。通過對(duì)文獻(xiàn)的研究概括及評(píng)析，使讀者能夠?qū)@一時(shí)期的繪畫中的女性形象有一個(gè)整體的印象，為其作出自己的判斷提供一點(diǎn)依據(jù)。
[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.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 黨芳莉上海財(cái)經(jīng)大學(xué)新聞系,朱瑾;20世紀(jì)上半葉月份牌廣告畫中的女性形象及其消費(fèi)文化[J];海南師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2005年03期

，

本文編號(hào)：2224778