本文選題：仕女畫 + 流變�。� 參考：《昆明理工大學(xué)》2014年碩士論文

【摘要】：仕女畫作為中國畫中的一個分支,已有幾千年的歷史,其意義更是不言而喻。歷經(jīng)春秋的萌芽,唐宋的興盛,仕女畫發(fā)展到明清開始逐漸沒落,民國以來在內(nèi)容和風(fēng)格上又有了新的流變。 本文在中國畫范疇內(nèi),以民國以來的仕女畫為研究對象,按照時間順序,將其分為幾個自然的歷史段落,對其風(fēng)格流變進行探討。中西文化的交融、大眾審美的變化、女性地位的提升、西式教育中素描的影響及學(xué)院教育等因素都與仕女畫的流變有密不可分的關(guān)聯(lián)。清末民初的仕女畫風(fēng)格由于社會文化背景的轉(zhuǎn)變開始發(fā)生流變,文章從這個時期開始梳理；隨后留學(xué)生歸國潮流引發(fā)民國時期的仕女畫呈現(xiàn)多樣風(fēng)格；建國十七年由于政治倡導(dǎo),仕女畫的題材及內(nèi)容受到一定制約,風(fēng)格技法追隨傳統(tǒng)；文革時期受政治因素影響,仕女畫多表達女性英雄題材,紅色被大量使用,人物特征變化較大；改革開放以來仕女畫風(fēng)格多樣,寫實特點顯著,力圖創(chuàng)新。本文根據(jù)以上四個歷史時期,將仕女畫的人物特征、題材內(nèi)容及形式語言三方面作為研究其流變的切入點,結(jié)合不同學(xué)科的研究視角深入分析仕女畫流變背后的原因,總結(jié)出社會文化背景對其流變的影響。筆者對四個主要時期的仕女畫進行分析比較,探討出形式流變而內(nèi)蘊傳承、畫法畫風(fēng)創(chuàng)新為歷代之最、審美視角多元化明顯、受西方繪畫影響較大、女性畫家及作品涌現(xiàn)為民國以來仕女畫的流變特點。另外,本文從女性審美角度分析了仕女畫的美學(xué)價值,并探討了其流變對當(dāng)代仕女畫創(chuàng)作的美學(xué)啟示,以期對當(dāng)代仕女畫創(chuàng)作與研究提供借鑒。
[Abstract]:As a branch of Chinese painting, lady painting has a history of several thousand years, and its significance is self-evident. After the sprout of Spring and Autumn, the prosperity of Tang and Song Dynasty, the development of the painting of ladies began to decline gradually in the Ming and Qing dynasties, and there has been a new change in content and style since the Republic of China. This paper, in the category of Chinese painting, takes the painting of ladies and women since the Republic of China as the research object, divides it into several natural historical paragraphs according to the order of time, and probes into the evolution of its style. The blending of Chinese and Western culture, the change of popular aesthetics, the promotion of female status, the influence of sketch in western education and college education are closely related to the evolution of female painting. Due to the change of social and cultural background, the style of female painting in the late Qing Dynasty and early Republic of China began to change, the article began to comb from this period, and then the trend of returning students to the country led to a variety of styles of female painting in the period of the Republic of China. In the 17 years since the founding of the people's Republic of China, the subject matter and content of female paintings were restricted to some extent, and the style and techniques followed the tradition. During the Cultural Revolution period, influenced by political factors, the paintings of ladies and women mostly expressed female heroic themes, and the red color was widely used. Since the reform and opening up to the outside world, women painting style is diverse, realistic features are remarkable, trying to innovate. According to the above four historical periods, this paper takes the character characteristics, theme content and formal language as the breakthrough point to study the evolution of the painting, and analyzes the reasons behind the evolution of the painting from the perspective of different disciplines. The influence of social and cultural background on its evolution is summarized. The author analyzes and compares the female paintings of the four main periods and discusses the evolution of the form and the inheritance of the painting style. The creation of the painting style is the most of all the dynasties. The aesthetic angle of view is diversified obviously, which is greatly influenced by the western painting. The emergence of female painters and works is the changing characteristic of female painting since the Republic of China. In addition, this paper analyzes the aesthetic value of female painting from the angle of female aesthetics, and probes into the aesthetic enlightenment of its evolution on the creation of contemporary ladies' paintings, in order to provide reference for the creation and research of contemporary ladies' paintings.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J209.2

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本文編號：2049338