Journal of Fashion Business (패션비즈니스)

The Korean Society of Fashion Business (한국패션비즈니스학회)
권호 표지
DOI QR코드

DOI QR Code

A Study on the Relationship Between Feminist Art and Fashion in Modern Chinese Art Era

  • Xing, Zhang (Dept. of Textile Art, Fashion Design, Hongik University) ;
  • Kan, Hosup (Dept. of Textile Art, Fashion Design, Hongik University)
  • Received : 2020.02.19
  • Accepted : 2020.04.27
  • Published : 2020.12.30
Download PDF
⟨ Previous Next ⟩

Abstract

Feminist artists are special in Chinese modern art. Sticking to their own artistic ideas, they constantly emphasize women's psychological characteristics and aesthetic values in their works under the background of modern society. Since feminism was introduced into China from western arts in the 1970s, it has greatly inspired Chinese female artists. This study used comparative analysis and correlation analysis to establish the connection between the works of local Chinese female artists and modern women's wear design, this connection is the common language form of Chinese female artists and modern fashion designers when expressing female psychology and aesthetics. This is a way for Chinese female artists to seek dialogue with Western and global female art, and the development characteristics of the localization of feminism in Chinese art and design. The significance of the research is to improve the international artistic atmosphere of Chinese feminist art and instill a new understanding of Chinese feminist art in the world.

Keywords

Acknowledgement

This work was supported by 2019 Hongik University Research Fund

References

  1. Armani Power Suits Makes the Female Images in the New Era. (2017, September 13). Retrieved September 10, 2019, from https://www.sohu.com/a/191686545_339618
  2. American First Lady Jacqueline Wearing Miniskirt. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  3. American Woman Flyer Amelia Earhart Wearing Flying Jacket. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  4. Chen, C. (2011). History of modern Chinese art. China: Heilongjiang Fine Arts Publishing Ltd.
  5. Cai, C. (2017, November 24). More than one side BaiDi: Use the brush to express the current situation of contemporary young people. Artron Net. Retrieved September 23, 2019, from https://www.sohu.com/a/206332534_149159
  6. Cheng, H. (1997). 中国有没有女性主义艺术 [Is there any feminist art in China]. 美术观察 [Art Observation], 10-12.
  7. Dreams, 2017. (2019, March 20). Retrieved September 23, 2019, from https://m.sohu.com/a/302584080_100102819
  8. Engrave time with clothing: creative aesthetics of designer Li Xiao. (2017, February 4). Douban. Figure 48, 49, 50, 51, 62. Retrieved October 8, 2019, from https://www.douban.com/note/604928159
  9. Fashion is ephemeral, but style is forever. (2017, September 13). Retrieved September 10, 2019, from https://www.sohu.com/a/191686545_339618
  10. Five Steeds Gallop, 1943. (2018, April 12). Retrieved September 6, 2019, from https://www.sohu.com/a/228081549_99914313
  11. Ferry-Place, 2018. (2019, March 20). Retrieved September 23, 2019, from https://m.sohu.com/a/302584080_100102819
  12. Female Characteristics of Men's Are Created on Cutting of Women's Wear. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  13. Hua, F. (2012). On the self-expression of Chinese contemporary female artists in the 1990s (Unpublished master's thesis). Guangxi Normal University, Guangxi, China.
  14. Hou, Y., & Liang, H. (2016). Analysis on the development history and trend of feminist style clothing. Art and Design(theory), 7, 74-76. doi: 10.16824/j.cnki.issn10082832.2016.07.028
  15. Is the World Going to Be Ok? Soft Body, 2011. (2014, September 3). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000063?cyear=2011
  16. In the Middle Night, 2018. (2018). Retrieved September 23, 2019, from https://baidi.artron.net/works?cyear=2018
  17. Jing, H. (2015). 在民主与科学思潮影响下的中国新美术运动 [The new art movement in China under the influence of democratic and scientific thoughts]. 文艺争鸣 [Wenyizhengming]. 32-33.
  18. Keep Silent- The Dark Moment, 2005. (n.d.). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000132?cyear=2005
  19. Lotus Flower in The Pond, 1995. (n.d.). Retrieved September 17, 2019 from https://lihong.artron.net/works_detail_brt026170700001
  20. Love by Chance, 2018. (2019, March 20). Figure 21, 63. Retrieved September 23, 2019, from https://m.sohu.com/a/302584080_100102819
  21. Li, W. (2012). The construction of the Chinese modern art system and the realistic aesthetic awareness (Unpublished doctoral dissertation). Southwest University, Chongqing, China.
  22. Lu, P. (2000). 中国当代艺术史 [Chinese contemporary art history]. China: Hunan Fine Arts Publishing Ltd.
  23. Liu, Y. (2014). Li Xiao: Salute to Balenciaga. (2014, September 3). Sina. Retrieved October 8, 2019, from http://fashion.sina.com.cn/zl/fashion/2014-09-03/11291982.shtml
  24. Mirror Series-The End, 2000. (n.d.). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000168
  25. Ma, L. (2019). It's important to keep the research mindset and perspective. (2019, May 6). Artdaily. Retrieved September 23, 2019, from http://www.cflac.org.cn/xw/bwyc/201905/t20190506_443900.html
  26. Miniskirt Becomes the Best Advertisement of Feminism. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  27. Marilyn Monroe Extending Regards to Soldiers Wearing B-15 Jacket. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  28. Monologue, 2016. (2016). Retrieved September 23, 2019, from https://img5.artron.net/artist/A0267457/brt026745700034.jpg
  29. March, 2016. (2016). Retrieved September 23, 2019, from https://img5.artron.net/artist/A0267457/brt026745700034.jpg
  30. Masha: Why do designers want to show at Paris fashion week. (2017, March 26). 解读:为什么设计师都想来巴黎时装周办秀. Sohu Fashion. Retrieved October 8, 2019, from https://www.sohu.com/a/130371799_ 467279
  31. Mashama x Lofi, 2016. (2017, March 26). Retrieved October 8, 2019, from https://www.sohu.com/a/130371799_467279
  32. Masha Ma Paris FW17. (2017, November 12). Figure 57, 64. Retrieved October 8, 2019, from https://m.sohu.com/a/203911694_500120/
  33. Masha Ma Paris SS19. (n.d.). Retrieved October 8, 2019, from https://51passion.com/yxf_gallery.php?xf=3&pid=183618
  34. Meng, L. (2017). 求真与写实-徐悲鸿与中国现代美术教育[Seeking truth and realism Xu Beihong and Chinese - modern art education]. 国画家 [Traditional Chinese Painter], 3, 62-63.
  35. Nude Series- Anticipation, 2007. (n.d.). Retrieved September 18, 2019, form https://xiangjing.artron.net/works_detail_brt000631000096?cyear=2007
  36. New Wok S, 2016. (2016, September 19). Retrieved September 18, 2019, from https://www.sohu.com/a/114664154_450640
  37. Orchids Series, 2005. (2012, November 3). Figure 42, 43, 44. Retrieved September 17, 2019 from http://liqinhu.sh1122.com/tese/baozhen/jianding.php?memberid=192633&id_shangjia=7&PAGE2=1
  38. Go Public, 2006. (n.d.) Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000107?cyear=2006
  39. Portrait of a Woman, 2014. (2014). Retrieved September 23, 2019, from https://img5.artron.net/artist/A0267457/brt026745700034.jpg
  40. Past Memories, 2015. (2015). Retrieved September 23, 2019,
  41. Peak, 2016. (2016). Retrieved September 23, 2019, from https://img5.artron.net/artist/A0267457/brt026745700034.jpg
  42. Paul Pioret Designed Baggy Trousers Inspired by Indian Dancers. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  43. Pants Designed by Chanel Based on Her Boyfriend's Trousers. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  44. Parallel World, 2018. (2018). Retrieved September 23, 2019, from https://img5.artron.net/artist/A0267457/brt026745700034.jpg
  45. Peacock, 2007. (n.d.). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000093?cyear=2007
  46. Rainbow, 2006. (n.d.). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000104?cyear=2006
  47. Song, J., & Niu, R. (2009). 二十世纪女权主义在中国的发展 [The development of feminism in China in the 20th century]. 辽宁行政学院学报 [Journal of Liaoning Academy of Governance], 2009(8), 4-5.
  48. Smoking Suit Transforming into Wide Shoulder Line and Narrow Trousers. (2017, December 10). Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  49. States Series, 1995. (n.d.). Retrieved September 17, 2019, form http://exhibition.artron.net/show.php?EID=1107
  50. States Series, 2009. (2009). Figure 45, 46, 47, 61. Retrieved September 17, 2019, form http://exhibition.artron.net/ show.php?EID=1107
  51. The Romantic Barbie, 2008. (n.d.). Retrieved September 17, 2019, form http://exhibition.artron.net/show.php?EID=1107
  52. The Fragrant Virgin, 2005. (n.d.). Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000119?cyear=2005
  53. Time Series Garments, 2016. (2017, February 4). Figure 50, 51. Retrieved October 8, 2019, from https://www.douban.com/note/604928159
  54. Yi, L. (2017, December 10). 现代女装的时尚史就是-部女权主义的发展史 [The history of modern women's clothing is a history of feminism]. Sohu. Retrieved September 10, 2019, from https://www.sohu.com/a/209572784_478723
  55. Vera Wang 2019 Spring. (2018, April 18). Figure 36, 37, 38, 39, 40, 41, 60. Retrieved September 28, 2019, from https://popbee.com/lifestyle/wedding/bridal-spring-2019-vera-wang/
  56. Wang, C. (2018, September 09). 白蒂"旷野之火"油画作品展山东美术馆开幕 [BaiDi 'The fire of the wilderness' oil painting exhibition]. Art China. Retrieved September 23, 2019, from http://art.china.cn/zixun/2018-09/09/content_40494843.htm
  57. We, 2007. (n.d.). Figure 33, 59. Retrieved September 18, 2019, from https://xiangjing.artron.net/works_detail_brt000631000092?cyear=2007
  58. Work of Diesel Award Winner, 2013. (2014, September3). Figure 48, 49, 62. Retrieved September 18, 2019, from http://fashion.sina.com.cn/zl/fashion/2014-09-03/11291982.shtml
  59. Wu, L. (2015, October 28). 李筱:向巴伦夏加致敬 [Xiang Jing Say it out loud]. : Artron. Retrieved September 13, 2019, from http://jx.ifeng.com/humanity/sh/detail_2015_10/28/4496481_0.shtml
  60. Xiang, J. (2016, October 11). 艺术家向京:这个世界会好的 [Artist Xiang Jing confession: Only those who are uneasy have peace]. Sina, Retrieved September 18, 2019, from http://collection.sina.com.cn/exhibit/zlxx/2016-10-11/doc-ifxwrhpn9664056.shtml
  61. Xuemei, L. (2008). Influences of women's liberation movement on fashion design (Unpublished master's thesis). Soochow University, Suzhou, China.
  62. Xu, H. (2007). 中国当代文化语境中的女性主义艺术批评 [Feminist art criticism in the context of Chinese contemporary culture]. 美苑 [Art Work], 3, 19-21.
  63. Xu, W. (2017, February 4). 用服装铭刻时间 [Time Series Garments, 2016]. Retrieved October 8, 2019, from https://www.douban.com/note/604928159
  64. Xu Beihong Miss Jenny, 1939. (2018, February 4). Retrieved October 3, 2019, from https://baijiahao.baidu.com/s?id=1591478250015697407&wfr=spider&for=pc
  65. Yongnian, X. (1999). 90年代的美术史研究(上) [On the study of art history in the 1990s (I)]. 美术观察[Art Observation], 1999(7), 58-61.
  66. Yanping, D. (2007). 浅谈中国当代女性艺术家 [Talking about Chinese contemporary female artists]. 美术观察 [Art Observation], 113.
  67. Yuan, G. (2012). 浅谈中国女权主义艺术及其预期 [On feminist art and expectations in China]. 大众文艺 [Dazhongwenyi], 143.
  68. Yin, S. (2006). 生命的尊严-关于李虹的艺术创作 [The dignity of life about Li Hong's artistic creation]. 艺术家 [China Art], 2006(2), 5-7.
  69. Zheng, G. (2000). Evolution and movement: Modernization of Chinese art (Unpublished doctoral dissertation). Chinese National Academy of Arts, Beijing, China.
  70. Zhang, D. (2012). Research on the aesthetic characteristics of Chinese contemporary female art (Unpublished master's thesis). YanBian University, Yanbian, China.