画布上的女性自传:中国视觉现代性中的潘玉良

Female Autobiography on Canvas:Pan Yuliang in Chinese Visual Modermity

潘玉良的系列自画像和人物画作为自传作品群,成为展现现代女性主体意识和性别意识的重要方式。女性形象及其审美表达的现代变革彰显了现代视觉经验与古典审美趣味的断裂,表现出中国视觉经验的现代转换:潘玉良自画像以女性主体视角进行自我表征,颠覆了中国传统仕女图中的女性形象刻画方式,同时对欧洲传统美学中隐含的男性主体视角发起挑战;画展中的女性身体形象作为中国现代性视觉经验的典型代表,在“看”与“被看”的多重关系中建构了新的观看主体与观看方式;对女性个体情感经受与感性经验的细腻刻画,转换了以往艺术作品中被捕捉和操纵的女性客体,生成了现代女性主体对自我情感经验的主动表达;以中西合璧的审美主张影响欧洲国家的现代性观念,为中欧审美共同体的建立奠定了坚实的情感基础。

Pan Yuliang's series of self-portraits and figure paintings,as a group of autobiographical works,have become an important approach to show the subject consciousness and gender consciousness of modemn women.The modern transformation of the female image and its aesthetic expression highlights the break between modern visual experience and classical aesthetic taste,and manifests the modern transformation of Chinese visual experience.Pan Yuliang's self-portraits represent herself from the perspective of the female subject,subvert the way female images are presented in the traditional Chinese portrait of a lady,and challenge the perspective of male subject implied in European traditional aesthetics.As a typical representative of Chinese modem visual experience,the group of nude women in her painting exhibition has constructed a new viewing subject and mode in the multiple relationship between“seeing”and“being seen”.Her exquisite depiction of women's individual emotional experience and perceptual experience replaces the female objects captured and manipulated in previous art works,and generates the active expression of modern female subjects'self emotional experience.Her aesthetic proposition of combining the Chinese and the Western aesthetics influences the concept of modernity in European countries,and lays a solid emotional foundation for the establishment of a Sino-European aesthetic community.