试析明清时期的闺阁、妓女绘画

本文通过“闺阁画家”与“妓女画家”这两个绘画群体来透析明清时期的 女性 绘画史。主要从题材表现上论述了闺阁与妓女画家的不同，指出妓女画家多寄兴于兰、 竹 ，而闺阁画家则在较广泛的题材领域从事创作。进而，又论述了她们在绘画旨趣上的差异 ，认为闺阁画家是以画自娱的，而妓女画家则以画遣怀；这样的旨趣又影响到她们的画风， 一个是工致的，一个是偏于写意的。最后指出了闺阁与妓女绘画的共性：它们既未能在绘 画 题材上有所开拓，又在表现技法上追逐于男性绘画，而这其实是古代女性对于男性依从 关系 在艺术上的一种延伸。

：This article seeks to present the women's painting history of t he Ming and Qing dynasties through description of the two classes of women pa inters. In the author's opinion, lady painters and courtesan painters differe d mainly in their presentation of themes, the latter stressing the portrayal of orchid and bamboo and the former being keen on a wider range of subject matte r. Lady painters took to brushwork mainly to amuse themselves and courtesan pai nte rs mainly to express their feelings. This diffrence in interest, in turn, le d to the difference in their styles, one stressing attention to details and the othe r free strokes. According to the author, however, there was one thing in c ommon between the two genres: Neither of them had pioneerspirit as far as subje ct mat ter was concerned, and both emulated the other sex in the technique of r epresent ation—this latter being in fact an extension, in the artistic realm, o f ancient women's subordination to men.