中国当代女性艺术的反思性研究

发布时间：2018-09-09 11:08

【摘要】： 随着中国妇女地位的逐步提高，二十世纪八十年代中期开始出现了以“女性”为概念的艺术活动，到九十年代，“女性艺术”这一具有鲜明性别特征的艺术方式得以提出。也就是说，当代的中国女性艺术从二十世纪八十年代中期开始，自上世纪九十年代发展并崛起，逐渐从文化艺术的边缘走向中心。中国当代女性艺术是二十世纪八、九十年代的新生物，它是与中国改革开放的社会转型同步发展的，它以其独特的文化内含和美学价值，成为中国当代艺术不可或缺的一个重要组成部分。然而，当今中国女性艺术的发展呈现出许多问题，其中对女性艺术的误读和对性别身份的价值定位一直困扰着女性艺术家。例如：艺术是否有性别？过分强调女性性别身份与特征是否有悖于女性主义艺术的初衷？本文在原有的研究基础上，进一步展开更加广泛与深入的对中国当代女性艺术进行的反思性研究。本文主要分五个部分来进行分析和论证。第一部分为绪论，首先说明了选择本课题的目的及意义，其次对国内外现有的女性艺术的研究状况和文献资料进行综述，以及阐述了本课题的研究方法，最后说明了本文的创新之处；第二部分介绍中国当代女性艺术的产生、背景及发展状况，分别从三点论述了相关概念以及中国当代女性艺术产生的背景，进而对中国当代女性艺术的产生与发展作了较为全面的分析与描述；第三部分论述中国当代女性艺术的研究特点，通过对中国当代女性艺术的研究，从而对其存在的困境与误区进行了分析与论证，以及阐述了当代艺术批评对当代女性艺术的解读与存在的误区；第四部分是对中国当代女性艺术的反思，本章通过对历史学角度、文化学角度、社会学角度和艺术学角度的研究，进而得出艺术无性别之分的结论，对艺术而言过分强调性别是一个谬论；第五部分为结论，，在反思中国当代女性艺术的基础上，提出女性艺术必须有着思想主旨和明确的目标，她应有一个建设性的方向，只有这样中国当代女性艺术才能超越原有的女性艺术发展思路，才能真正将个性的自由提高到一个更高的层面。
[Abstract]:With the gradual improvement of the status of women in China, artistic activities with the concept of "women" began to emerge in the mid-1980s, and in the 1990s, "female art", an artistic method with distinctive gender characteristics, was put forward. That is to say, the contemporary Chinese female art began in the mid-1980s, developed and rose from the edge of culture and art to the center from the 1990s. Contemporary female art in China is a new creature of the 1980s and 1990s. It has developed at the same time as the social transformation of China's reform and opening up, with its unique cultural content and aesthetic value. To become an indispensable part of Chinese contemporary art. However, there are many problems in the development of Chinese female art nowadays, in which the misreading of female art and the value orientation of gender identity have been puzzling female artists. For example, is there a gender in art? Is it contrary to the original intention of feminist art to overemphasize the gender identity and characteristics of women? On the basis of the original research, this paper further develops a more extensive and in-depth reflective study of contemporary Chinese women's art. This article is divided into five parts to analyze and demonstrate. The first part is the introduction, which first explains the purpose and significance of choosing this topic, then summarizes the current research situation and literature of female art at home and abroad, and expounds the research methods of this topic. The second part introduces the emergence, background and development of Chinese contemporary female art, and discusses the related concepts and the background of Chinese contemporary female art from three aspects. The third part discusses the characteristics of Chinese contemporary women's art, through the research of Chinese contemporary women's art, the author makes a comprehensive analysis and description of the emergence and development of Chinese contemporary women's art, the third part discusses the characteristics of Chinese contemporary women's art, through the research of Chinese contemporary women's art. Thus, it analyzes and demonstrates its predicament and misunderstanding, and expounds the interpretation and misunderstanding of contemporary female art by contemporary art criticism, the fourth part is the reflection on contemporary female art in China. Through the study of historical, cultural, sociological and artistic perspectives, this chapter draws the conclusion that there is no gender in art, and that too much emphasis on gender is a fallacy for art; the fifth part is the conclusion. On the basis of reflection on contemporary female art in China, it is pointed out that female art must have a clear purpose, and she should have a constructive direction. Only in this way can Chinese contemporary female art surpass the original thinking of female art development. In order to truly raise the freedom of personality to a higher level.
【学位授予单位】：西北师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J120.9

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