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对于女性艺术家的书写,在中国传统的艺术史论中绝少涉及,这一群体的存在线索若隐若现。反之,同样是在中国传统的艺术史撰写中,以女性为表现对象的作品却是其中不可或缺的一部分,从《洛神赋》到《簪花仕女图》再到《秋风纨扇图》,女性形象成为父权社会视角中一个风雅、唯美的审美品类。如何品读、玩味女性是士大夫们诸多雅好中的一类。女性从被动的图像参照者转入主动的图像生产者的群体性转变,应该始自上世纪初的社会震动与变革。“从基本
The writing of female artists is seldom involved in the traditional Chinese art history theory. The clues of the existence of this group are looming. On the contrary, in the traditional Chinese art history writing, the works of women as the object of expression are an indispensable part of them. From ”Luo Shen Fu“ to ”Lady Flower“ The image becomes a elegant, aesthetic aesthetic category in the perspective of patriarchal society. How to read, pamper women is one of the many good doctors who are good. The mass transformation of women from passive imagers to active image producers should start with the social shocks and transformations of the early 2000s. ”From basic