明清仕女画的社会学研究

【作者】 王宗英；

【导师】 阮荣春；

【作者基本信息】 南京艺术学院 ， 美术学， 2004， 硕士

【摘要】 本文主要以艺术社会学为方法论，把美术学研究与社会学和女性学研究相结合，运用学科交叉的研究方法，对明清仕女画的主要特征、风格成因、文化内涵、审美价值进行探讨。明清仕女画风以阴柔、羸弱、幽郁为主要特征，这种特征的形成始终与社会脱不了干系，在社会精神的约束下，绘画美学思想发生了巨大的转变，明清仕女画家崇尚阴柔之美。剖析明清仕女画的文化内涵，就会发现明清仕女画的本质内涵其实就是男人的女性艺术，体现的是男性的标准和世俗的要求。虽然明清仕女画在风格上是单薄的，但是其体现了无法压抑的女性审美，而其中的美学价值也是无法否认的。更多还原

【Abstract】 This text regards artistic sociology as methodology mainly, and the research combines fine art with sociology and woman fine arts, thus is so-called cross-subject research. Therefore the text probes into main characteristic, origin cause of formation of style, culture connotation, aesthetic value which noblewoman painting of the Ming and Qing dynasty contains. The Ming and Qing dynasty’s noblewoman painting have the style of overcast and gentle. The forming of those characteristics had certain connection with the society throughout the Ming and Qing dynasty. Under the restraintion of social spirit, enormous transition has taken place in the aesthetic thought; the painters advocated the overcast and gentle beauty. If we make analyze on the culture connotation of the noblewoman painting, we will find that its essential intension was actually the man’s arts of female. It was man’s standard and the requests of the common customs that embodied. Though the painting’s style was thin, it expressed non-constrained aesthetic views. Thus aesthetic value among them can’t be denied either.更多还原