女性画家在国画史上地位的变迁  

The Historical Vicissitudes of Female Painters' Art Status on Traditional Chinese Painting

作　　者：秦慧媛[1] 

机构地区：[1]齐鲁师范学院团委,山东济南250013

出　　处：《山东教育学院学报》2011年第2期127-130,共4页Journal of Shandong Education Institute

摘　　要：我国古代女性绘画作品数量虽然较多,但是现存下来的并不多,造成这种现象的主要原因是其处于从属地位的特殊身份。近代女性画家数量不多,但是她们在绘画领域勇敢地迈出了第一步,为后来女性画家的生存和发展奠定了良好的基础。上世纪80年代之后,女性画家能够从全新的视角重新审视自己,作品的内容也转而关注自身的日常生活和内心世界,女性绘画获得了更广阔的发展空间。A large quantity of female painters＇ works, with distinguished inspiration to life and positive significance to art, have rarely been reserved till now due to their peculiar social status in ancient times. The primary reason for female painters＇ subordinate status lies in their social positions. A small number of female painters in modern times have made a great major step forward in painting, setting good basis for the existence and development of later female painters. From 1980s, along with the increasing inter- action between China and the whole world, painters are able to rejudge themselves from a brand-new angel and female paintersj works began to concern much more about daily life and inner world of heart. A great broad future is reserved for female painters.

关 键 词：女性画家 国画史 地位 变迁 

分 类 号：J222.2[艺术—美术]