發(fā)布時(shí)間：2018-10-22 19:48

【摘要】：中國古代美術(shù)史中女性畫家可謂寥寥無幾,近代以來女性畫家才逐步被認(rèn)可。五四新文化運(yùn)動(dòng)的產(chǎn)生,使女性以平等身份參與到藝術(shù)與文化活動(dòng)中,產(chǎn)生了不少女性藝術(shù),但為數(shù)不多。建國之初,婦女的政治地位和社會(huì)地位得到空前的提高,但無差別的男女平等理論卻遮蔽了女性對(duì)自身特質(zhì)和潛能的發(fā)揮。直到九十年代,女性才逐漸顯出其獨(dú)立性,她們以女性獨(dú)特的視角,給中國畫注入了新的活力。 本文以中國女性國畫現(xiàn)狀為研究背景,重點(diǎn)以九十年代后的女性國畫家為研究對(duì)象,結(jié)合她們的自身發(fā)展及其作品分析,全面的探究出了女性國畫藝術(shù)中女性意識(shí)的表現(xiàn)。論文共分為五個(gè)部分,第一部分(緒論)總體闡述論文研究背景及國內(nèi)外研究成果。第二部分(第一章)從客觀的角度出發(fā)簡要介紹了女性畫家女性自我意識(shí)的覺醒過程。第三部分(第二、三章)是論文的主體部分,結(jié)合九十年代后女性國畫藝術(shù)的現(xiàn)狀,從藝術(shù)題材、藝術(shù)手法兩方面分析女性意識(shí)在國畫藝術(shù)中的表現(xiàn),并深入探索出當(dāng)代女性國畫家的藝術(shù)特征及精神性內(nèi)涵,同時(shí)揭示出了她們潛在的思想活動(dòng)和多重情感體驗(yàn),以及風(fēng)格各異背后的共性,這是本文的重點(diǎn)部分。第四部分(第四章)結(jié)合自己的作品探討女性意識(shí)的表現(xiàn)以及對(duì)女性國畫藝術(shù)發(fā)展趨勢(shì)思考。第五部分(結(jié)語)總結(jié)并擴(kuò)展到整個(gè)討論,通過對(duì)女性國畫家女性意識(shí)的總結(jié)性陳述,引發(fā)人們對(duì)于中國女性繪畫藝術(shù)發(fā)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.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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本文編號(hào)：2288136