【摘要】：女性藝術(shù)在不同的歷史語(yǔ)境下經(jīng)歷了本土特色的發(fā)展。直至20世紀(jì)80年代末90年代初西方女權(quán)主義藝術(shù)的傳入。由于不同的歷史語(yǔ)境,中國(guó)對(duì)于女性主義和女性主義藝術(shù)產(chǎn)生了誤讀,使中國(guó)女性藝術(shù)的發(fā)展面臨著尷尬境地。本文通過(guò)社會(huì)學(xué)、哲學(xué)、文化學(xué)的角度研究女權(quán)主義的發(fā)展,并按照時(shí)間的順序?qū)χ形鞣脚运囆g(shù)的發(fā)展脈絡(luò)進(jìn)行梳理。結(jié)合藝術(shù)原理和運(yùn)用對(duì)比的方法多角度進(jìn)行總結(jié)。找出本土女性藝術(shù)發(fā)展困境的癥結(jié),提出可供參考的解決方案。本文選題來(lái)源于中國(guó)女性藝術(shù)家在近現(xiàn)代藝術(shù)領(lǐng)域的迅速發(fā)展。尤其是20世紀(jì)末期的女性藝術(shù)家創(chuàng)作狀態(tài)有很多可喜的變化,在對(duì)藝術(shù)領(lǐng)域所帶來(lái)的新氣象的同時(shí)又不乏在創(chuàng)作觀念上所存在的問(wèn)題。中國(guó)女性藝術(shù)如果想繼續(xù)前行還需要對(duì)女性藝術(shù)發(fā)展所存在的問(wèn)題做系統(tǒng)的分析,并找到一個(gè)有效的解決方案,運(yùn)用正確的理念指導(dǎo)藝術(shù)實(shí)踐活動(dòng)。在研究中國(guó)女性藝術(shù)現(xiàn)狀所存在的問(wèn)題時(shí),目光投向了中國(guó)的女性主義藝術(shù)和中國(guó)女性藝術(shù)家的生存語(yǔ)境,并結(jié)合中國(guó)當(dāng)今女權(quán)主義的發(fā)展?fàn)顩r提出女性應(yīng)樹立主體意識(shí)自信的去創(chuàng)作。探究了新時(shí)代給與中國(guó)女性藝術(shù)發(fā)展帶來(lái)哪些機(jī)遇和挑戰(zhàn)。論文的創(chuàng)新點(diǎn)。第一,對(duì)傳統(tǒng)女權(quán)主義與后女權(quán)主義思想進(jìn)行辨析,進(jìn)而研究女權(quán)的思想觀念對(duì)西方女性藝術(shù)家的創(chuàng)作所產(chǎn)生哪些影響。第二,中國(guó)的女性藝術(shù)隨著時(shí)代語(yǔ)境不同,在各方面產(chǎn)生哪些變化。找到女性藝術(shù)健康發(fā)展需要哪些社會(huì)條件,需要遵循了什么樣的藝術(shù)發(fā)展規(guī)律。只有掌握規(guī)律,才能利用規(guī)律排除現(xiàn)存的障礙繼續(xù)前行。第三,本文將中國(guó)女性藝術(shù)家的作品結(jié)合后女權(quán)思想進(jìn)行個(gè)人的分析。將女性藝術(shù)結(jié)合藝術(shù)的原理,論證女性藝術(shù)存在的價(jià)值,什么樣的藝術(shù)理念才適合中國(guó)的的實(shí)際情況。第四,對(duì)西方女性主義藝術(shù)進(jìn)行深入的研究,分析了中國(guó)女性藝術(shù)家受國(guó)際上女性藝術(shù)家哪些啟發(fā),在借鑒過(guò)程中出現(xiàn)哪些問(wèn)題需要甄別。本文在研究中,將重點(diǎn)放在了后女權(quán)思想和中國(guó)當(dāng)下的藝術(shù)時(shí)代環(huán)境進(jìn)行分析。研究過(guò)程中遇到的難點(diǎn)是后女權(quán)主義的基本理論在女性藝術(shù)家創(chuàng)作中的正確理解與運(yùn)用。如何借鑒的學(xué)習(xí)當(dāng)今世界上優(yōu)秀的藝術(shù)作品。通過(guò)研究中國(guó)當(dāng)今女性繪畫創(chuàng)作的具體情況,并結(jié)合分析中西方女性藝術(shù)優(yōu)秀作品和西方后現(xiàn)在女權(quán)主義的積極思想,堅(jiān)定時(shí)代發(fā)展對(duì)女性藝術(shù)的包容性將越來(lái)越高,女性藝術(shù)家們也應(yīng)積極的順應(yīng)時(shí)代潮流,抓住中國(guó)新一輪文化藝術(shù)大發(fā)展的重要機(jī)遇,更好的進(jìn)行藝術(shù)創(chuàng)作活動(dòng)。
[Abstract]:Female art has experienced the development of local characteristics in different historical contexts. The introduction of Western feminist art until the late 1980s and early 1990s. Due to different historical contexts, China misread feminism and feminist art, which makes the development of Chinese female art face an awkward situation. This paper studies the development of feminism from the angles of sociology, philosophy and culturology, and combs the development of Chinese and western female art in the order of time. Combined with artistic principles and the use of contrast methods to sum up from many angles. Find out the crux of the difficulties of the development of local female art, and propose solutions for reference. The topic is derived from the rapid development of Chinese female artists in the field of modern art. Especially in the late 20th century, there are many gratifying changes in the creative state of female artists, which bring new atmosphere to the field of art, and at the same time, there are some problems in the concept of creation. If Chinese female art wants to go on, it needs to make a systematic analysis of the problems existing in the development of female art, and find an effective solution to guide the artistic practice with correct ideas. In studying the problems existing in the present situation of Chinese female art, we have set our eyes on the feminist art in China and the survival context of Chinese female artists. Combined with the development of feminism in China, women should set up subjective consciousness and self-confidence to create. It explores what opportunities and challenges the new era will bring to the development of Chinese women's art. The innovation of the thesis. The first is to analyze the traditional feminism and post-feminism, and then to study the influence of feminism on the creation of western female artists. Second, the Chinese female art with different times context, what changes in all aspects. Find out what social conditions are necessary for the healthy development of female art, and what art development rules must be followed. Only grasp the law, can use the law to remove the existing obstacles to move forward. Third, this paper combines the works of Chinese female artists with post-feminist thoughts to make a personal analysis. Combining female art with the principle of art to demonstrate the value of the existence of female art, what kind of artistic concept is suitable for the actual situation of China. Fourthly, it makes an in-depth study of western feminist art, and analyzes what Chinese female artists are inspired by the international female artists and what problems need to be identified in the process of drawing lessons from them. This paper focuses on the post-feminist thought and the contemporary art environment in China. The difficulty encountered in the research process is the correct understanding and application of the basic theory of post-feminism in the creation of female artists. How to learn from the excellent works of art in today's world. By studying the specific situation of women's painting creation in China today, and combining with the analysis of the outstanding works of Chinese and western women's art and the positive thinking of feminism after the west, we can make sure that the development of the times will be more and more inclusive of women's art. Female artists should also actively conform to the trend of the times, seize the important opportunity of the new round of cultural and artistic development in China, and better carry out artistic creation activities.
【學(xué)位授予單位】：合肥工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

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