A Research On The Embodiment Of Love In Chinese Contemporary Female Paintings

This thesis mainly sheds light on Chinese contemporary female paintings from five perspectives, such as the historical origin, connotation of love, formational causes of features, multiple formation and expressional gimmicks and developmental orientation to show its female consciousness and love embodiment.First of all, this thesis clarifies the evolutional process of Chinese female paintings by summarizing its historical origin and builds up the research perspective of the contemporary female painting and love manifestation, which sustains the discussion between the concepts of female painting and feminist painting and thus reveals the connotation of love in female paintings.Secondly, the present research explores the formational causes of Chinese contemporary female paintings from subjective and objective aspects. The causes can be attributed to female painters'physical and psychological factors, the marginalized social culture and aesthetic interest transformation, which results in Chinese female painters'unique painting expressional perspectives and thinking styles.Thirdly, the current research discusses the multiple formation and expressional gimmicks based on the love creation themes in Chinese contemporary female paintings. To be specific, based on the five types, such as maternal love, love, fraternal love, love and creatures, narcissistic and self-esteem love, the thesis tries to analyze many female painters'art works and painting styles in order to show female consciousness, theme choice and art embodiment in Chinese contemporary female paintings. The research findings show that Chinese contemporary female painters have advanced with times with original styles and integrated their various love experiences into their works by taking a new look at the traditional themes with distinct female characteristics and unique art insights, which are quite different from the previous vision forms.Last but not the least, the present study reflects on the developmental orientation of Chinese contemporary female paintings. The objective condition, such as the thinking prototypes influenced by social traditional culture would bound the continuous development of female painting to a certain extent. But we should pay more attention to the awakenment of consciousness in contemporary social female main-stream. Chinese female paintings, with distinctive styles from males'aesthetic styles, would persist in its independent innovation, individualized characteristics and the pursuit of art nature, which tends to thrive in self awareness and maturity.