本文選題：女性繪畫 + 時代性　； 參考：《河北師范大學(xué)》2013年碩士論文

【摘要】：關(guān)于女性繪畫,一種觀點認為,“由女性創(chuàng)作的,用女性的角度描繪女性生活及展現(xiàn)女性精神情感,并采用女性獨特的表現(xiàn)形式的繪畫,稱為女性繪畫�！绷硪粋�觀點認為，出自女性手筆的繪畫，被稱為女性繪畫。前者的界定更為嚴(yán)格。女性繪畫是女性藝術(shù)中的一項主要方式，現(xiàn)在太多的態(tài)度是用性別的角度去區(qū)分“女性藝術(shù)”，此時的女性畫家早已經(jīng)厭倦了從性別的角度去劃分藝術(shù)創(chuàng)作。她們開始回歸安靜的思考，思考未來的畫面，故此我們應(yīng)該回望中國女性繪畫史，看看她們曾走過的路。本論文選擇了兩個時間段進行比較：明清時代女性人物繪畫同當(dāng)代女性人物繪畫。 本論文共分四部分。 第一部分為時代背景之比較。通過時代背景的特征和畫家本體價值觀的不同，令她們對繪畫的功能均有不同的認識。第二部分比較她們的出身和職業(yè)，，教育三個方面在影響女性人物畫家的藝術(shù)成就高低的差異。古代女性人物繪畫“隱而弗彰”的外界與自身的原因，主要來自封建社會對女性的束縛和她們?nèi)狈?chuàng)作自覺性兩方面。第三部分是畫家創(chuàng)作表達之比較，著重探索兩時期女性畫家個人意識的萌發(fā)和個人意識對畫面的影響,分析每一時期代表人物的藝術(shù)成就。以及個人意識滲透進畫面的方式的討論，能夠論證兩個時間段女性人物畫家對繪畫語言的探索及貢獻。 通過研究總結(jié)，在第四部分中,論文形成以下主要結(jié)論和觀點：明清女性人物畫家的創(chuàng)作優(yōu)勢是心靈回歸安靜，以及相對純粹的思想，這是十分值得當(dāng)代女性人物畫家所學(xué)習(xí)的。同時，當(dāng)代女性人物畫家?guī)в袕娏覀�人意識的表達在創(chuàng)作中突現(xiàn)出來，也是非常值得繼續(xù)發(fā)揚下去的。同時明清和當(dāng)代女性人物畫家的局限性皆是缺乏藝術(shù)創(chuàng)作的自覺性和繪畫語言的創(chuàng)造性。這些思辨都可以指導(dǎo)未來女性人物畫家的藝術(shù)創(chuàng)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.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J209.2

【共引文獻】

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