A Study Of Female Images In Chinese Oil Paintings From 1949 To 1979

The gender construction in China emphasized the order of the binary opposition between men and women in the traditional Chinese feudal society.In addition,women were often in the order in which men were superior to women.The ideological liberation put forward by the Communist Party of China also contained the liberation of women.The liberation of women is one of the progress in the process of socialist modernization and the recovery of subjective consciousness.Women began to have a legitimate and equal status in the political and economic fields as the main body of a country in the construction of socialism.The way of the development and vision of new Chinese oil painting is to present the process of identity.The importance of oil painting is not first reflected in the teaching of the college,but in the creation of historical painting themes after the founding of New China in1949.The Ministry of Culture has commissioned a large number of artists to create revolutionary history-themed oil paintings.Because of being in the oil painting production mode commissioned by the state for a long time,the image shaping of women is inevitably influenced by the national ideology,from which we can find the evolution of the female image.As a consequence,this paper aims at the carding and research of female images reflected in Chinese oil paintings from 1949 to 1979.Most of the papers on the female images presented by the new Chinese art set the time range of the study in the first 17 years of the founding of the people’s Republic of China,or between 1966 and 1976.In other words,they did not link the whole 30 years into a period of history.As a consequence,this paper regards the female images presented in Chinese oil paintings from 1949 to 1979 as a kind of continuity of differences.It comes from the national construction of female images in different periods and different political policies,which presents the difference construction.Continuity means that although there are differences in each period,the construction of the image has a context.In addition,they are all constructed around the common identity of the female people.Chapter 2: It combs the female images in oil paintings from 1949 to 1958,most of which are based on revolutionary historical themes.The female images are divided into mass images and heroic images.The former constructs the female image by emphasizing the collective "participation" political practice.The latter is to shape the national culture through the promotion of female heroic culture.The common purpose of the two is to strengthen women’s identification with the identity of the people of the country at the beginning of the founding of the People’s Republic of China.During the period,the picture identity mechanism is to regard the female people as a group with advanced consciousness among the female masses.Chapter 3: It combs the female images in oil paintings from 1958 to 1966.As a result,it is found that their image construction tends to be a kind of participation in reality after analyzing the labor discourse in the society at that time.Women need to actually participate in the country’s economic construction after obtaining the national identity.As a consequence,different from the former imagined participation,the female image is constructed as a real image of the labor force.At this time,there is no difference between the female masses and the main body of the female people.Chapter 4 : From 1966 to 1976,the construction of Chinese female image produced three different results.During this period,the images of female people are mainly divided into three kinds,one is the image of educated youth,the other is the image of Red Guards and the image of female militia.Chapter 5:From 1976 to 1979,on the one hand,it continued the pattern of art from 1966 to 1976,on the other hand,it began to appear a kind of liberation of individuality.In addition,women began to release their gender temperament as women here.Chapter 6: It is about the conclusion.