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作为女性审美变化的风向标,仕女画自古以来就体现了封建男权社会对女性审美的取向。唐代灿烂的仕女画艺术,其独特的审美只维持了唐代短短一朝的高峰。可以看出,尽管唐代的社会风气较为开放,但中国的社会思想仍是以儒家为主。而唐代仕女画对贵族妇女闺阁生活的表现,也是有着在儒家美学和开放的社会背景下,对于女性审美的“乐”的需求与“礼”的规范。是对于女性精致生活的赏玩以及儒家礼乐思想的表现,其表现的女性艺术形象仅仅是作为儒家审美的附庸。
As the vane of aesthetic changes in women, the beauty painting has embodies the feminist aesthetic orientation of feudal patriarchal society since ancient times. The splendid Tang Dynasty art painting, its unique aesthetic only maintained the peak of the Tang Dynasty. It can be seen that although the social atmosphere in the Tang Dynasty was relatively open, the social ideology in China still dominated by Confucianism. The performance of the ladies’ paintings in the Tang Dynasty on the boudoir life of the aristocratic women also has the norms of “the courtesy” and “the courtesy” of the female aesthetic under the Confucian aesthetics and the open social background. Is a reflection of the delicate life of women and the performance of Confucian rituals and rituals. The performance of the artistic image of women is merely an appendage to Confucian aestheticism.