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在中国这样一个简单又复杂的农耕国家,似乎一切都是“一慢、二看、三通过”的习惯。人们习惯于守着老祖宗留下的财富和教训,习惯于“日出而作,门落而息”、“面朝黄土、背朝天”的小农经济,在艺术上也习惯于守着祖宗留下的中国传统绘画的精髓——笔墨程式。对中国而言工业化进程姗姗来迟,现代艺术的发展步履蹒跚,中国的女性艺术同样逃脱不了相似的规律。 国际妇女运动始于五十年代末的美国,特别是西蒙波娃的《第二性——女性》一书在法国出版,成为“女性艺术”的宣告书。随着本世纪60年代末和70年代以来,一些欧美发达国家出现妇女运动和女权主义的第二次高潮,“女人”、“女性”、“女权”则
In a simple and complex farming country like China, it seems that everything is “a slow, a second look and a third pass” habit. People accustomed to guarding the wealth and lessons left by their ancestors, accustomed to “the sunrise and the door”, “facing the loess, back to the sky,” the peasant economy, the art is also accustomed to keep the ancestors left The quintessence of Chinese traditional painting under the pen and ink program. For China, the process of industrialization has lagged behind. The development of modern art is faltering. The same is true of Chinese women’s art. The International Women’s Movement The United States, and in particular, Simon Popova’s “Second Sexes - Women”, which began in the late 1950s, was published in France and became the “Art of Women” announcement. With the second upsurge of women’s movement and feminism in some developed countries in Europe and the United States since the late 1960s and the 1970s, “women”, “women” and “women’s rights”