| In the development of ancient Chinese art history,to the late Ming and early Qing dynasties,the records of female painters in the literature showed an explosive growth.Among them,the number of boudoir painters accounted for a high proportion,and they were the most prominent in the Jiangnan region.As far as the painting style of boudoir painters is concerned,Boneless Flowers comes out on top.After Yun Shouping’s creation of boneless flowers became popular for a period of time,it was recorded that the number of boudoir painters who studied boneless flowers in Changzhou began to increase gradually,and the number of boudoir painters who learned boneless flowers among many calligraphy and painting families in Changzhou in the Qing Dynasty The Yun family is the most impressive.According to the relevant historical records of the Qing Dynasty,it is speculated that among the descendants of Yun Shouping’s branch relatives,there were at least 13 boudoir painters who inherited and learned boneless flowers.Personality and regularity traits can be found.These boudoir painters came into being within a family under the constraints of feudal ethics,which is a rare phenomenon in the history of ancient Chinese art.Based on the foundation of fine arts,combined with the research methods of history,sociology,anthropology and other disciplines,the Yun family was a large literary and artistic family in the Qing Dynasty.The resulting impact is of great research significance.This paper is mainly divided into four chapters: The first chapter analyzes the external environmental factors of the boudoir painters of each family in Changzhou in the Qing Dynasty,and the influence on the boudoir painters of the Yun family.Make a detailed study of the inheritance background,inheritance relationship and the specificity of inheritance;The second chapter analyzes the internal reasons of Yun’s family’s learning of Boneless Flowers from the study object,family education,and family boudoir painters’ own factors;The third chapter explores the way of the Yun family boudoir painters’ inheritance by combining historical materials and images,and analyzes the characteristics of the works;The fourth chapter is a research summary of the artistic achievements and influences of Yun’s boudoir painter Chengxu Wugu painting.The full text makes a multi-dimensional analysis and research on the phenomenon of the Yun family boudoir painters inheriting and learning Wugu painting.Taking the family as an objective reference system,it reflects the artistic development trend of women in a family environment with such a high concentration of artistic achievements.Finally,through the perspective of the boudoir painters of the Yun family,I deeply interpret the specific artistic forms and causes of the family-centered boudoir painters in the Qing Dynasty,adding rich colors to the development of Chinese painting art history. |
