【作者】 李秀霞；

【导师】 徐建融；

【作者基本信息】 上海大学 ， 美术学， 2012， 博士

【摘要】 本文以图像分析为基础,综合运用社会学、历史学、文学、比较学等多学科交叉的理论和方法,从四个方面展开对明清仕女画的论述。第一章陈述明清仕女画的盛行。主要针对历代仕女画作和画家的情况进行梳理与整理,选取若干收录信息相对客观的画册及著作文献进行数字统计,通过表格列举的方式,比较明清与前此历代仕女画作和画家的数量情况,从概率上得出明清仕女画作和画家的数量远远超过前此历代的数量总和,以此证明,明清仕女画是中国仕女画史上继唐代之后的又一繁荣期。第二章阐述明清仕女画之所以盛行的社会文化背景。主要从四个方面来论述:人性解放、奢侈之风、情色消费和市民文艺。明中叶以后,王阳明学的兴起和李贽“人欲即天理”学说的大炽,掀起了一场“走出中世纪”的人性大解放运动。性灵的文人们高举反礼教旗帜,肯定“好色”、“好货”的人生信条,带动了整个社会对物质享乐的狂热追求。以文人为表率,上至帝王将相,下至市民百姓,无不沉浸在精致生活的奢侈享受中,尤其是对情色消费的热衷,更使得妓院大为兴盛。市民文艺此时也达到了高峰,各种言情小说、淫秽小说铺天盖地,以满足人们精神上的绮思遐想。这也正是仕女画包括春宫画空前盛行的社会文化背景。从而导出“仕女画是有形的言情小说、言情小说是无形的仕女画”的结论。第三章分析明清仕女画独特的艺术特色,归纳为四点:“秋风纨扇”、市井化、纤弱性和书卷气,而以“秋风纨扇”为形象标志,市井化、纤弱性、书卷气为形象气质。本章以分析大量的仕女画作品为主,比较明清仕女画与前此历代仕女画形象的不同,并结合相关诗文进行分析,论证以上四个特色是明清不同画家不同特色的仕女画创作中共同的时代特色而有别于前代。第四章论述明清仕女画形象特色的文化内涵。明中叶以后,大量文人无意仕宦走向市井生活,仕途不得志固然悲伤,但转向市井后却得到了尽情享受快乐生活的自由,因而“秋风纨扇”在此的含义已完全不同于以前女性、士夫借秋扇见捐的自伤,俨然已是文人们解放个性、遗弃庙堂的代名词了。从而,他们心目中的红颜知己,也不再是贵族化的绮罗女性,而是市井化的青楼女子。当时的个性解放,实则解放的是男性的个性乃至肉欲,对女性的禁锢反而越发严酷,消费女色的男性身心已变得十分弱小,必然要求所消费的女性比自己更加纤弱、甚至病态,以此来显示自身的高大强壮。他们反对“女子无才便是德”的观念,致力于对女性诗文书画的培养,而女性也主动迎合文人的好尚,自觉地学习诗文书画,修炼自身气质修养,以便与文人名士诗文唱和。关于明清仕女画是继唐代之后中国仕女画史上的又一“高峰”,虽已有学者论及,但大都缺少具体的数据支持,显得说服力不强。本文的创意之一,正在于通过数字的统计,从概率上来论证这一观点。前此关于明清仕女画的研究,指出了它的兴盛,但没有能指出其所以兴盛的社会文化背景,尤其没有能指出它与个性解放思潮的关系。本文的创意之二,正在于论证了它与明中叶开始的文化价值观转变之间的直接关系。前此关于明清仕女画的研究,大都仅止于指出其纤弱化的形象特色,而没有能全面涉及到秋风纨扇、市井化和书卷气的特色,即使偶有涉及到秋风纨扇、市井化的特色,也简单地把它们解释为文人画家对见捐仕途、沦落市井的哀怨。本文的创意之三,在于从秋风纨扇、市井化、纤弱性、书卷气四方面综合地概括了它的形象特色,并指出秋风纨扇的标志和市井化的气质所体认的更多的是一种自由、自足而不仅仅只是哀怨。前此关于明清仕女画的研究,对其形象特色、尤其是纤弱性以及秋风纨扇、市井化的解释,主要归结为封建礼教的压迫所导致。本文的创意之四,在于指出它更多地是个性解放的反礼教所导致。更多还原

【Abstract】 Ladies Traditional Chinese painting is an important figure in the painting subjects, it depicts the performance of beautiful young woman as an object, using the traditional pen and ink techniques to create unique artistic value of the image of women, conveying a particular aesthetic interest and Culture to people, the figure in the history of important research value.Tang Dynasty Ladies draw characters or words in terms of technique, and have reached a peak in the history of Beauty Painting, which is recognized by the academic community. Ladies draw in the number of Ming and Qing achievements of the former ladies of this ancient art can not be compared, once again, following the peak after the Tang Dynasty. However, the academic study of the history of the Ming and Qing paintings, limited to the“People Portrait”from the Song later would be“less than the ancient past”, the decline of the situation, while landscape painting, bird occupies the dominant position of the Ming and Qing painting, which, ladies draw Did not arouse sufficient attention. This article is based on this, it is necessary that the depth of the Ming and Qing paintings of beautiful places to explore and research, in order to be able to draw on the Ming and Qing ladies have a correct understanding.In this article, the image analysis based on the integrated use of sociology, history, literature, comparative science and other interdisciplinary theories and methods discussed in the following four aspects.The first chapter presentation prevalence of the Ming and Qing paintings of beautiful. Lady in the main view of the existing paintings and ancient history painter ladies sort and organize the situation, select the number of the book contains information and relatively comprehensive statistics on work literature, forms listed by way of comparison with the former the ancient Ming and Qing paintings and painters The number of cases. Derived from the probability of the Ming and Qing ladies on the paintings and the number of artists far more than the sum of the number before the ages, even a few times, several times in history before this combined. As an example of the Ming and Qing paintings of beautiful paintings in the history of the Chinese ladies once again after following the peak of the Tang Dynasty.The second chapter the prevalence of the Ming and Qing paintings of beautiful social background. Discussed from four aspects: human liberation, luxury style, and woman and the public consumption of art. After the Ming Dynasty, The Rise of Wang and Li Zhi“,Desire is heaven”,the great heresy, set off a“go medieval”great liberation movement of humanity. The text of spiritual counter-ethics hold high the banner of the people, certainly,“lust”,“good goods”,“people daily that road”, the credo of life, led the entire community is extremely fanatical pursuit of material pleasures. On to the emperors, down to the common people, all immersed in the exquisite luxury of life, especially consumption and woman is keen, but also makes much brothels flourished. Public art has reached its peak at this time, all kinds of romantic novels, pornographic novels overwhelming to meet people’s fantasies thinking spiritual reverie. This is erotic art, including paintings of beautiful, including the social background of unprecedented popularity.The third chapter discusses the Ming and Qing paintings of beautiful unique artistic features, there are four points:“Autumn Wan Shan”, resident, frail and bookish. To analyze a large number of ladies in this chapter mainly paintings, compared with the previous Ming and Qing paintings of beautiful ladies in this ancient image of the differences between painting, poetry and related analysis prove that the four characteristics of the Ming and Qing paintings of beautiful unique image features .The fourth chapter discusses the cultural connotation of the Ming and Qing paintings of beautiful. After the Ming Dynasty, a large number of scholars have abandoned the move is not official business of life toward marketplace, they are no longer a“good scholar official”as the only platform to achieve the value of life. While sad unsuccessful career, but after this shift has been a free marketplace and enjoy this world a happy life, and feel very satisfied, and thu“sAutumn Wan Shan”in this meaning is completely different from the previous woman scholar by Qiushan see donation of self-injury, and seem to be the freedom of personal liberation literati self, a synonym for the abandonment of the community. Ming’s personal liberation, but in reality the liberation of the male personality, even sensual, but more and more women’s detention was harsh. Consumption of men and woman have become very weak physically and mentally, the necessary requirement for the consumption of women more vulnerable than their own, even morbid, in order to show their own image of the tall and strong men. Their anti-decency and propriety, against“a woman’s virtue to be ignorant”, the concept of painting dedicated to the cultivation of female poetry, and women took the initiative to meet the author is still a good, positive efforts to learn poetry painting, practicing self-cultivation of temperament in order to Poetry can sing with the Scholars.In short, the Ming and Qing Dynasty paintings are paintings of beautiful ladies in the history of the peak once again, ladies shown by the image is very unique, with a picture of this ancient image of utterly different ladies, these are the social and cultural background and has a very strong internal Contact.更多还原