本文選題：女性主義　切入點(diǎn)：女性藝術(shù)家　出處：《山東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：女性藝術(shù)成為了當(dāng)今藝術(shù)界一個值得深入探究的話題,對于藝術(shù)發(fā)展來說,女性意識的覺醒帶給藝術(shù)界的積極影響是多方面的,女性自身的敏銳審美視角,以及對于中國傳統(tǒng)美學(xué)的追溯和在繼承中創(chuàng)新,使得女性油畫藝術(shù)語言的形成給中國油畫的發(fā)展注入了新的形式。女性主義藝術(shù)不僅僅是打破了傳統(tǒng)意識對于女性的束縛,同時也造就了當(dāng)代藝術(shù)朝著多維度和多元化角度的發(fā)展態(tài)勢。其批評話語在中國當(dāng)代藝術(shù)環(huán)境中彰顯出其獨(dú)特性。女性藝術(shù)門類眾多,本文立足于女性藝術(shù)家的油畫藝術(shù)這一具體門類進(jìn)行論述,隨著當(dāng)代藝術(shù)的不斷發(fā)展,表現(xiàn)性和超現(xiàn)實(shí)油畫成為了當(dāng)代女性藝術(shù)家的典型圖式。而當(dāng)代女性藝術(shù)家們在表現(xiàn)性油畫的基礎(chǔ)上融入了中國古典美學(xué)中的意象,所以,本文立足于分析意象表現(xiàn)性油畫和超現(xiàn)實(shí)油畫這兩類圖式,并且通過分析藝術(shù)家的作品,總結(jié)每一類圖式的共同特征。最后引發(fā)的思考就是圖式是當(dāng)代藝術(shù)所必須的產(chǎn)物,然而圖式并不是空洞的,它是賦有內(nèi)涵意義的,是融入了藝術(shù)家的心理指向和情感態(tài)度的表達(dá),是經(jīng)過情感的洗禮而自然形成的圖式,而并不是為了圖式而創(chuàng)作的的圖式,為了博得眼球效應(yīng)的圖式就是空泛的,無意義的。最后是展望當(dāng)代中國女性藝術(shù)未來的發(fā)展空間,從理論的缺失到題材的限制等方面總結(jié)女性藝術(shù)發(fā)展的局限性和未來的發(fā)展方向。本論文共分為四個部分:第一章:中國當(dāng)代女性繪畫藝術(shù)的發(fā)展,當(dāng)代女性繪畫在本文就是指女性藝術(shù)家的繪畫。這一部分主要論述了何為當(dāng)代女性藝術(shù),以及女權(quán)主義、女性主義藝術(shù)等相關(guān)概念的闡述以及其之間的區(qū)別。列舉了賈方舟、楊克勤、徐虹等對于女性藝術(shù)概念的界定,并且發(fā)表了自己的觀點(diǎn)。還介紹了女性主義和西方女權(quán)主義的不同之處,以及中國當(dāng)前女性主義的現(xiàn)狀。最后對中國女性繪畫的發(fā)展進(jìn)行了史論梳理。第二章:對當(dāng)代女性藝術(shù)家的油畫圖式進(jìn)行分析,這一部分是分析意象表現(xiàn)性油畫圖式。對意象表現(xiàn)性油畫進(jìn)行概念界定,然后用個案研究法,列舉了兩位典型的意象表現(xiàn)性圖式的女性藝術(shù)家代表--歐洋和閆平,分析她們的作品。通過分析作品,進(jìn)一步分析得出女性藝術(shù)畫家在表現(xiàn)意象性油畫時呈現(xiàn)出的多樣性,從以下方面體現(xiàn)出來:一是女性觀念的自覺和審美視角的展開,而是通過女性藝術(shù)家藝術(shù)作品表現(xiàn)形式的不同進(jìn)行對比,以及當(dāng)代女性畫家在表現(xiàn)意象表現(xiàn)性油畫時對于其形式語言的拓展。通過以上分析最后得出意象表現(xiàn)性油畫的表現(xiàn)圖式特征:平面性的表現(xiàn)方式在油畫表現(xiàn)語言中回歸;女性油畫家意象性表現(xiàn)的形式特征。第三章:對于另外一個圖式進(jìn)行分析,超現(xiàn)實(shí)主義的圖式。對超現(xiàn)實(shí)主義做出概念的界定,西方超現(xiàn)實(shí)主義理論的簡述,也是利用個案分析的方式列舉兩個女性油畫家--劉虹、喻紅,進(jìn)行作品分析。最后通過分析總結(jié)得出女性藝術(shù)家超現(xiàn)實(shí)主義圖式的共同特征:圖像符號的指向性、時空設(shè)置的主觀性、色彩表現(xiàn)的自我性。第四章:由前三章的分析總結(jié)引發(fā)的關(guān)于女性藝術(shù)的思考:一是女性圖式語言的影響:給中國當(dāng)代油畫注入了新的形式;繼承和發(fā)展了中國的傳統(tǒng)文化。二是對于女性藝術(shù)圖式語言的困境分析,圖式的樣式化導(dǎo)致了繪畫個性語言的缺失,分析了為什么圖式的樣式化會導(dǎo)致個性語言的缺失,一是當(dāng)前錯誤的輿論導(dǎo)向;二是繪畫視角的“他視化”。最后對女性意識的未來發(fā)展空間做出問題分析和展望,比如創(chuàng)作題材的單一和狹窄;完善理論成果;打破性別局限;改革當(dāng)代藝術(shù)展覽體制。
[Abstract]:Female art has become a worth exploring topic in today's art world, for the development of art, many aspects of the awakening of female consciousness to the positive influence of the art world, women's keen aesthetic angle, and the back China traditional aesthetics and innovation in succession, the form of painting language into a female the new form for the development of oil painting. China feminist art is not only break the shackles of traditional consciousness to women, but also created the development trend of contemporary art towards multi dimension and multi angle. The critical discourse in contemporary art environment China shows its uniqueness. Female art has many of the specific categories this paper is based on the female artists of painting art are discussed, with the continuous development of contemporary art, performance and super realistic oil painting has become the contemporary female art A typical schema. Contemporary female artists based on the performance of oil into the Chinese classical aesthetic image, so this paper based on the analysis of the image of the performance of oil and oil painting of the two types of schemata, and through the analysis of the artist's works, summarize the common features of each type of schema. Finally thinking the schema is the must is a product of contemporary art, but the schema is not empty, it is endowed with meaning, is integrated into the expression of the artist's psychological orientation and emotional attitude, emotion is through baptism and the natural formation of the schema, and not to the schema creation schema, in order to win the eye the effect of schema is vague and meaningless. Finally the prospect for the development of contemporary female art Chinese space in the future, from the lack of theory to topic restricted aspects of female art. Show the limitations and the future direction of development. This paper is divided into four parts: the first chapter: the development of art Chinese contemporary female paintings, contemporary paintings of women in this paper refers to the female artist's paintings. This part mainly discusses what is the contemporary female art and feminism, feminist art and other related differences describes the concept and the between. Lists Jia Fangzhou, Yang Keqin, Xu Hong for the concept of female art is defined, and expressed their views. It also introduces the differences between feminism and feminism, and the current status Chinese feminism. Finally the development of Chinese female painting were combing history. Second chapter of contemporary female artists painting schema analysis, this part is to analyze the performance of oil painting image schema. The image on the performance of oil was defined, then use a The case study method, lists two typical images of female artists, schema Ouyang and Yan Ping, analyze their works. Through the analysis of works, further analysis of the diversity of female artist presents in the performance of the oil painting, from the following aspects: one is the concept of women consciousness and aesthetic view, but by female artists works of art forms were compared, and the contemporary female artists in the performance of image performance for oil painting in the form of language development. Through the above analysis, finally draws the image representation schema features the performance of oil: the performance way of the regression plane in oil painting language; the form features of female painters represent imagery. The third chapter: for another schema analysis, surreal schema. Make the concept of Surrealism The definition of Western surrealism theory, using case analysis is also cited in the way of two female artist -- Liu Hong, Yu Hong, analyzed the work. Finally analyze and summarize common characteristics of female artists of Surrealism: image schema symbols of directivity, spatio-temporal settings subjective color expression of self. The fourth chapter: thinking about the female art caused by summing up the analysis of the first three chapters: the first one is the influence of female schema language: inject new forms to Chinese contemporary oil painting; the inheritance and development of traditional culture. Chinese two is the analysis for the schema language of female art dilemma, style schema leads to the absence of painting the personality of language, analyzes why the diagrammatic design will lead to lack of individuality of language, one is the current error of public opinion; two is the painting from the perspective of him. "At the end of the women The future development space of consciousness should be analyzed and prospected, such as the single and narrow theme of creation, the perfection of theoretical achievements, the limitation of gender, and the reform of contemporary art exhibition system.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J213

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