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Visualizing love and longing in Song dynasty paintings of women (Han Xizai, Mou Yi, China).

机译:形象化地表达对宋代女性绘画中的爱和向往(韩熙载,牟仪,中国)。

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The nature of emotion, particularly how it is manifested, has been a concern of Chinese theorists since the early imperial period. One way that this concern came to be expressed in certain genres of Chinese art and literature was in the conception of elite women as preoccupied with romance. In the Song dynasty (960–1279), painters and poets engage in an extensive dialogue on the meanings of attachments between men and women, with the stages of the love relationship coded as desire, love, longing and heartbreak. An examination of extant paintings from this period reveals that this construction pervades the cultural productions of both court figures and intellectuals. This dissertation analyzes Song dynasty paintings of women in love in light of the construction of both femininity and masculinity, the nature of representation, and text-image relationships, and considers the authorship and reception of these works.; I argue that by the Song dynasty, what became valued in the pictorial representation of a female figure was her interior state. Artists had several modes for revealing it at their disposal: these included not only attention to a figure's facial expression and gesture, but also the employment of poetic tropes that seized upon every aspect of the female figure as a potential means of disclosing her feelings. Chapter One investigates the gardens and bedrooms of the inner quarters as gendered settings for the representation of inner emotions. Chapter Two considers the representation of “singing girls” (courtesans) and the connection of musical entertainment to the performance of desire, arguing that paintings of this performance constitute a metaconstruction. Chapter Three examines self adornment with mirrors and makeup as a means of reflecting a figure's heart/mind and a way of literally writing emotions upon her face. Chapter Four analyzes the erotic connotations of women's work with cloth. I conclude that each of these elements is available for manipulation, not so much to express the figure's imagined feelings as to provide the authors and audience of these images with a figure on which to project their emotions, on subjects that could be much wider-ranging than the vicissitudes of love relationships.
机译:自帝国初期以来,情感的性质,特别是情感的表现方式一直是中国理论家关注的问题。在某些中国艺术和文学流派中表达这种担忧的一种方式是,将精英女性的概念视为沉迷于浪漫。在宋代(960-1279年),画家和诗人就男女依恋的含义进行了广泛的对话,爱情关系的各个阶段被编码为欲望,爱情,渴望和伤心欲绝。对这一时期现存绘画的研究表明,这种结构渗透了宫廷人物和知识分子的文化产物。本文从女性气质和男性气质的建构,表征的本质以及文本图像关系的角度分析了宋代恋爱中的女性绘画,并考虑了这些作品的作者和接受程度。我认为到宋代,在女性形象的绘画作品中受到重视的是她的内在状态。艺术家有多种显示方式可供使用:这些方式不仅包括关注人物的面部表情和手势,还包括运用诗意的比喻抓住女性形象的各个方面,作为揭示其感情的潜在手段。第一章研究了内宿舍的花园和卧室,以性别为基础来表达内心的情感。第二章考虑了“唱歌的女孩”(流浪汉)的表现以及音乐娱乐与欲望表现之间的联系,认为这种表现的绘画构成了一种元建构。第三章通过镜子和化妆来检验自我装饰,以反映人物的内心/思想,并从字面上将情感写在脸上。第四章分析了女性用布工作的色情内涵。我得出的结论是,这些元素中的每一个都可以操纵,而不仅仅是表达人物的想象感觉,而是为这些图像的作者和观众提供一个可以在更广泛的主题上投射情感的人物比恋爱关系的沧桑。

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