论文部分内容阅读
明代中后期手工业和商品经济的日益发达,以及李贽“异端”思想对男尊女卑思想的批判,使得女性花鸟画家的崛起获得了身后的社会文化土壤。女性画家主要分为师承家学的闺阁画家及克服封建伦理束缚的青楼画家,由于人生迹历、生存环境、受教育的方式不同,使得她们的绘画风格特征也呈现出多样化。
The growing development of handicrafts and commodity economy in the middle and late Ming Dynasty, and the criticism of Li Yao’s “heresy” thought on the inferiority of male ministers made the rising of female flower-and-bird painters gain the social and cultural soil behind them. Female painters are mainly divided into the division painter and the brothel painter who overcomes the feudal ethical bondage. Because of the life experience, the living environment and the different education methods, their painting style characteristics also appear diversified.