考察中国改革开放后的当代女性艺术创作的生态,贾鹃丽的绘画艺术自然忝列其中。我记得早在1988年她创作的《秋瑾》就开始受到中国美术界的广泛关注。那是在上海展览馆,由中国美协油画艺委会主办的“首届中国油画大展”上展出的。因为我们这一代的正统教育中,秋瑾是一位革命女性,尤其是她手持匕首的历史照片是当时我们对她认知的直接视觉来源。而贾鹃丽将秋瑾描绘成一个大家闺秀的形象——端庄、娴慧、美丽,一如她以后反复画的肖像系列作品一般,完全没有女侠和烈女的感觉。我当时对这幅画印象很深,以为她是表现秋瑾作为女性阴柔的另外面孔,剔除了她社会与历史的身份,还原了 After examining the ecology of contemporary female art creation after China’s reform and opening up, Jia’s art of painting is naturally listed. I remember that as early as 1988, she created the “Qiu Jin” began to receive widespread concern in the Chinese art world. It was at the Shanghai Exhibition Center and was exhibited at the “First China Oil Painting Exhibition” sponsored by the China Artists Association Oil Painting and Art Committee. Because of the orthodox education of our generation, Qiu Jin was a revolutionary woman, especially the historical photograph of her hand-held dagger as the direct visual source for our cognition of her time. And Jia Juan Li Qiu Jin portrayed as a lady image - dignified, Xian Hui, beautiful, as she repeatedly drawn portrait series of works in general, no sense of woman and heroine. I was deeply impressed with the picture at the time, thinking that she was the other face that showed Qiu Jin as feminine, excluding her social and historical identities and restoring