独自造境—中国当代油画艺术中女性自我意识体现
发布时间：2018-12-23 11:04
【摘要】：中国女性绘画的发展是一个曲折漫长的历程,它是依附在主流男权语境中的文化载体,但历经那么长时间一直没有创作主动权。直至二十世纪九十年代,女性艺术家受到西方女性主义的影响慢慢有了女性独立的“女性意识”。到了现当代女性主义,随着中国新时代提出独立创新意识的不断增长,新时期的女性艺术家通过女性的自我体验、自我思考表现出她们特有的思考和观点,将她们对社会、人文、自身成长因素都通过绘画的语言表现出来。女性艺术家愈益展现出不同于男性艺术家的独特视角,用女性的自身语言去重新诠释世界。 本文试图通过九十年代以后的艺术中独特的女性自我意识艺术特质着手,解析当代女性艺术家创作作品进而总结了当代女性艺术中“女性意识"的内涵意义。本篇创作研究主要分为四个部分进行论述：第一部分阐述了女性艺术的历史文化现象。分别阐述了女性主义源起、中国女性艺术的发展、西方对中国女性艺术的影响和“自我意识"在哲学、心理学、艺术中的意义。女性主义源起西方社会的女权主义,经历了近乎两个世纪的发展变化发展到有了当代女性社会地位,并在饱受争议中进一步发展。西方女性思想对中国的女性主义有着深远的影响,表现在艺术中是女性将自身的个人体验、心灵、多重感情展示在她们的作品中。在艺术中有了强烈的主张和观点,思想变得越来鲜明和独立。第二部分通过分析总结出了当代女性绘画特征,从女性独有的视角方面阐述了女性绘画所具有的代表特征。在本段的分析中运用了归类的方法把女性绘画特征分为日常生活的关注、象征性和隐喻性的表达、对自我和微观世界的关注,以及偏重感性、直觉的表述方式。她们在她们的创作中以女性特有的柔韧和对生活的细腻感受,用独特的审美视角和特定的表现形式,用艺术的形式对女性心理进行了深入的刻画,为现代女性艺术做了更多的探索。第三部分重点阐述了女性独有特征在艺术中的独特体现。列举了当代代表性画家李虹、袁耀敏、申玲、喻红、夏俊娜、刘虹、阎平、蔡锦等女性艺术家分别进行了对性别、女性身份、女性身体、母子题材、花的语言与镜子的表现等方面介绍了九十年代女性艺术家对“自我意识"的体现。第四部分就论文的观点叙述了当代女性绘画的再认识。文章的第五部论述了当代女性绘画的发展现状与前景,并论述了笔者对未来当代女性艺术获得更好的发展艺术家所必须具备的意识心态。
[Abstract]:The development of Chinese female painting is a long and tortuous course, it is a cultural carrier attached to the mainstream male power context, but after so long time, there has been no creative initiative. Until the 1990 s, female artists were influenced by western feminism and gradually developed their independent female consciousness. To the modern and contemporary feminism, with the constant growth of the independent innovation consciousness put forward in the new era of China, the female artists in the new period show their unique thinking and viewpoint through the self-experience of women, and they are treated to the society. Humanities, self-growth factors are expressed through the language of painting. Female artists increasingly show a unique perspective different from male artists and reinterpret the world with their own language. This paper attempts to analyze the artistic works of contemporary female artists and sum up the connotation of "female consciousness" in contemporary female art through the analysis of the unique artistic characteristics of female self-consciousness in the art of the 1990s. This thesis is divided into four parts: the first part expounds the historical and cultural phenomena of female art. The origin of feminism, the development of Chinese female art, the influence of the West on Chinese female art and the significance of "self-consciousness" in philosophy, psychology and art are expounded respectively. Feminism originates from feminism in western society and has undergone nearly two centuries of development and change to the status of contemporary women and has been further developed in controversy. Western feminism has a profound influence on Chinese feminism. In art, women display their own personal experience, soul and feelings in their works. In art, there are strong ideas and ideas, the more distinct and independent ideas. The second part summarizes the characteristics of contemporary female painting, and expounds the representative characteristics of female painting from the perspective of women. In the analysis of this paragraph, we use the method of categorization to divide the characteristics of female painting into the attention of daily life, the symbolic and metaphorical expression, the attention to the self and the microcosm, as well as the biased perceptual and intuitive expressions. In their creation, they deeply depict women's psychology with their unique flexibility and delicate feelings of life, with their unique aesthetic perspective and specific forms of expression, and with the form of art. For the modern female art to do more exploration. The third part focuses on the unique characteristics of women in the art of the unique embodiment. Some female artists, such as Li Hong, Yuan Yaomin, Shen Ling, Yu Hong, Xia Junna, Liu Hong, Yan Ping, Cai Jin and other representative painters of the contemporary era, have carried out a series of topics on gender, female identity, female body, and mother and child, respectively. The language of flower and the performance of mirror introduce the embodiment of self-consciousness by female artists in 1990 s. The fourth part narrates the recognition of contemporary female painting from the point of view of the thesis. The fifth part of the article discusses the present situation and prospect of contemporary female painting, and discusses the consciousness and mentality that the author must possess in order to obtain a better development of contemporary female art in the future.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
[Abstract]:The development of Chinese female painting is a long and tortuous course, it is a cultural carrier attached to the mainstream male power context, but after so long time, there has been no creative initiative. Until the 1990 s, female artists were influenced by western feminism and gradually developed their independent female consciousness. To the modern and contemporary feminism, with the constant growth of the independent innovation consciousness put forward in the new era of China, the female artists in the new period show their unique thinking and viewpoint through the self-experience of women, and they are treated to the society. Humanities, self-growth factors are expressed through the language of painting. Female artists increasingly show a unique perspective different from male artists and reinterpret the world with their own language. This paper attempts to analyze the artistic works of contemporary female artists and sum up the connotation of "female consciousness" in contemporary female art through the analysis of the unique artistic characteristics of female self-consciousness in the art of the 1990s. This thesis is divided into four parts: the first part expounds the historical and cultural phenomena of female art. The origin of feminism, the development of Chinese female art, the influence of the West on Chinese female art and the significance of "self-consciousness" in philosophy, psychology and art are expounded respectively. Feminism originates from feminism in western society and has undergone nearly two centuries of development and change to the status of contemporary women and has been further developed in controversy. Western feminism has a profound influence on Chinese feminism. In art, women display their own personal experience, soul and feelings in their works. In art, there are strong ideas and ideas, the more distinct and independent ideas. The second part summarizes the characteristics of contemporary female painting, and expounds the representative characteristics of female painting from the perspective of women. In the analysis of this paragraph, we use the method of categorization to divide the characteristics of female painting into the attention of daily life, the symbolic and metaphorical expression, the attention to the self and the microcosm, as well as the biased perceptual and intuitive expressions. In their creation, they deeply depict women's psychology with their unique flexibility and delicate feelings of life, with their unique aesthetic perspective and specific forms of expression, and with the form of art. For the modern female art to do more exploration. The third part focuses on the unique characteristics of women in the art of the unique embodiment. Some female artists, such as Li Hong, Yuan Yaomin, Shen Ling, Yu Hong, Xia Junna, Liu Hong, Yan Ping, Cai Jin and other representative painters of the contemporary era, have carried out a series of topics on gender, female identity, female body, and mother and child, respectively. The language of flower and the performance of mirror introduce the embodiment of self-consciousness by female artists in 1990 s. The fourth part narrates the recognition of contemporary female painting from the point of view of the thesis. The fifth part of the article discusses the present situation and prospect of contemporary female painting, and discusses the consciousness and mentality that the author must possess in order to obtain a better development of contemporary female art in the future.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
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2 尹茜茜;王峰;;女性绘画研究综述[J];理论导报;2012年08期
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