图像化的女性观:民国新兴百美图中女性形象之嬗变  

Pictorial View of Women:Evolution of Female Images in the Newly Emerging Hundred Beauty Picture of the Republic of China

作　　者：胡莹琳 陈娟 HU Yinglin;CHEN Juan(Arts Faculty,North University of China,Taiyuan 030051,China)

机构地区：[1]中北大学艺术学院,山西太原030051

出　　处：《中北大学学报（社会科学版）》2024年第6期61-68,共8页Journal of North University of China：Social Science Edition

基　　金：山西省教育厅2023年度山西省研究生创新项目:禁锢·转变·解放:清至民国中国绘画之女性形象流变研究(2023KY618)。

摘　　要：新兴百美图是中国民国时期社会经历巨变和中西文化剧烈碰撞下的产物,亦是记录民国大众集体观念转变的图像笔记,其中网罗了大量反映该时期女性观重要转向的内容。民国时期新兴百美图的变化主要体现在女性形象的视野、生活、姿态三个方面,这些变化折射出民国社会对女性社会权力、社会作用、社会地位等方面的态度及看法的演进。基于这些转变,明清时期形成的“程式化”女性形象审美范式在新兴百美图中并非彻底消解了,而是随着民国社会大众对女性期待的转变,转向了新的“程式化”。The newly emerging hundred beauty picture is the product of the great social changes and the violent collision of Chinese and Western cultures during the Republic of China,and it is also a kind of image notes to record the collective concept changes of the Republic of China,which includes a large number of contents reflecting the important changes in the perception of women during the period.Through the investigation of the development of the newly emerging hundred beauty picture,it can be summarized that the changes of the newly emerging hundred beauty picture in the Republic of China are mainly reflected in the vision,life and attitude of the female image,which reflects the evolution of the attitude and view of the social power,social role and social status of women in the Republic of China.Based on these changes,it can be seen that the“stylized”aesthetic paradigm of female images formed in the Ming and Qing Dynasties did not completely disappear in the new hundred beauty pictures,but turned to a new"stylized"with the change of the public’s collective expectation of women in the Republic of China.

关 键 词：新兴百美图 女性形象 女性观 图像 

分 类 号：J205[艺术—美术]