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中国女子书画会

 1934年4月29日在上海成立的"中国女子书画会",是中国第一个女子美术社团,该会由一批情趣相投、各领风骚的女性书画家自发组建而成。李秋君女士(著名画家张大千先生的红颜知己)、陆小曼女士(著名诗人徐志摩先生的夫人)、著名艺术大师吴青霞女士和潘玉良女士等当时一批颇有才华的女性书画家曾是该会的活跃人士,何香凝女士曾担任该会名誉会长。书画会会址在上海中正北二路(今石门二路)158号,一直到1949年才停止活动。其间,该会编辑出版《中国女子书画》特刊四期,会员发展至200余人,堪称中国美术史上规模最大的一个女子美术团体。该会于1949年解体。于2015年11月在中国上海复会重建。

  • 中文名中国女子书画会
基本信息

 1934年4月29日在上海成立的“中国女子书画会”,是中国第一个女子美术社团,该会由一批情趣相投、各领风骚的女性书画家自发组建而成。李秋君女士(著名画家张大千先生的红颜知己)、陆小曼女士(著名诗人徐志摩先生的夫人)、著名艺术大师吴青霞女士和潘玉良女士等当时一批颇有才华的女性书画家曾是该会的活跃人士,何香凝女士曾担任该会名誉会长。书画会会址在上海中正北二路(今石门二路)158号,一直到1949年才停止活动。其间,该会编辑出版《中国女子书画》特刊四期,会员发展至200余人,堪称中国美术史上规模最大的一个女子美术团体。

民国中期,在第一次世界大战影响和现代美术运动的推动下,新兴艺术社团蜂起,与社团面貌较单一的五四时期相比,开始转向多元化、专业化、现代化和性别化。在此期间,上海作为美术社团活跃地之一,社团数量在全国首屈一指;从19世纪末至1949年,仅上海的绘画社团就占全国绘画社团总数的三分之一强, 其中许多社团驰名中国现代美坛,对中国艺术发展有深远影响并独具特色。1934年4月29日成立的“中国女子书画会”,就是中国第一个女子美术社团,也是中国女性艺术史上组建最早、阵容最强、规模最大、持续最久的一个民间女性画会,是中国女画家群体意识觉醒的标志。上世纪30年代,号称“中国”的社团仅十余个,如中国美术家联盟、中国画会、中国美术会、中国左翼美术家联盟东京分盟、中国女子书画会等,多数是男性为主体的美术社团;而以女性性别称谓的,就只有中国女子书画会。女子书画会定名冠以中国二字的魄力,较一些冠名“中国”的美术社团,在旧中国时期,突显了女性社团敢为天下先的勇气,也体现了社团创办的初衷和理念。可以说,中国女子书画会是中国美术社团发展史上的一个里程碑。

中国女子书画会由冯文凤、李秋君、陈小翠、顾青瑶、杨雪玖 、顾默飞等发起,在海宁路890号会所成立。第一次同仁大会召开时,海上著名书画家三十余人公推冯文凤为临时主席,会议选举冯文凤、杨雪玖、李秋君、唐冠玉、虞澹涵、张时敏、杨雪瑶、吴青霞

包琼枝、朱砚英等为执行委员,顾默飞、顾青瑶为文书,鲍韫为会议记录员,陆小曼、丁筠碧负责宣传工作,陈小翠任编辑。此后又有虞澹涵、黄映芬、朱砚英、徐慧、余静芝、周鍊霞、鲍亚辉、谢应新、谢月眉、庞左玉、何香凝、余威丹、杨缦华、樊诵芬等响应,堪称“盛极一时”的“女子 艺术界空前之集合。陈小翠在其《翠楼吟草全集》中对书画会创办的盛况也有所记载,卷八《丹青集》之《画展小纪》序说:甲戌春创女子书画展览于海上,一时巾帼隽才不期而集者,凡—百二十人,可谓盛矣。为诗纪之,以留鸿爪。”书画会中荟集了当时中国大多数的女子书画好手和名家,有以山水画见长的李秋君、顾青瑶、鲍亚辉、顾飞、樊诵芬、潘素等,揎长花鸟画的吴青霞、俞致贞等,以仕女画为特色的陈小翠等;另有西画见长的女性艺术家潘玉良、方君璧、关紫兰等。这些女性艺术家不仅在上海,而且在全国都有一定的影响力。

时隔66年,中国女子书画会(英文简称CWCPA)在热心的企业界、金融界、教育界、收藏界等各界人士的支持下于2015年11月经香港特区政府获准重新注册复会。新生的中国女子书画会由中国大陆、台湾、香港、澳门两岸四地及旅居在美国、加拿大、澳洲、德国、英国、法国、日本等世界各地的华裔中青年女性书画艺术家精英自发组成,系当今世界第一个,也是唯一的华裔女性书画艺术家国际性艺术组织,旨在继承老一

辈中华女性艺术家的崇高境界,发扬光大自主独立、个性鲜明的艺术风貌,为提高当代华裔女性书画家的艺术情操和提升艺术知名度,为繁荣民族文化艺术事业,实现伟大的复兴中华民族的中国梦而贡献力量。

 

Introduction in English

 The "Chinese Women's Calligraphy and Painting Fair" established in Shanghai on April 29, 1934 is the first women's Art Association in China, which was spontaneously formed by a group of like-minded and coquettish women calligraphers and painters. Ms. Li Qiujun (Mr. Zhang Daqian's confidant), Lu Xiao

 

Ms. Man (Mrs. Xu Zhimo, a famous poet), Ms. Wu Qingxia, a famous artist, and Ms. Pan Yuliang, a group of talented female painters and calligraphers at that time, were active members of the association, and Ms. He Xiangning served as honorary president of the association. The Calligraphy and Painting Association was located at 158 Zhongzheng North Second Road (Shimen Second Road) in Shanghai and did not stop its activities until 1949. In the meantime, the Society edited and published four special issues of "Chinese Women's Calligraphy and Painting". Its membership grew to more than 200 people, making it the largest women's art group in the history of Chinese art.

 

In the middle of the Republic of China, under the influence of the First World War and the impetus of the modern art movement, new art associations began to emerge. Compared with the May 4th period, when the appearance of the associations was relatively single, they began to diversify, specialize, modernize and sexualize. During this period, Shanghai, as one of the most active art associations in the country, had the largest number of associations. From the end of the 19th century to 1949, the number of painting associations in Shanghai alone accounted for more than one third of the total number of painting associations in the country. Many of these associations are well-known in China's modern art circle, and have far-reaching influence on the development of Chinese art and have their own characteristics. The "Chinese Women's Painting and Calligraphy Fair" established on April 29, 1934, is the first women's Art Association in China. It is also the earliest, strongest, largest and longest folk women's painting festival in the history of Chinese women's art. It is the symbol of the awakening of group consciousness of Chinese women painters. In the 1930s, there were only more than ten associations known as "China", such as the Chinese Artists'Union, the Chinese Painting Association, the Chinese Fine Arts Association, the Tokyo Branch of the Chinese Left-wing Artists' Union, and the Chinese Women's Painting and Calligraphy Association. Most of them were male-dominated art associations, while only the Chinese Women's Painting and Calligraphy Association was called by women's gender. Women's Calligraphy and Painting Club was named "China". Compared with some art associations named "China", in the old China period, it highlighted the courage of women's associations to be the first in the world, and also embodied the original intention and idea of the association. It can be said that the Chinese Women's Calligraphy and Painting Association is a milestone in the history of the development of Chinese art associations.

 

The Chinese Women's Painting and Calligraphy Association was initiated by Feng Wenfeng, Li Qiujun, Chen Xiaocui, Gu Qingyao, Yang Xuejiu [2], Gu Meifei and was established at No. 890 Haining Road. When the first Congress of colleagues was held, more than 30 well-known calligraphers and painters at sea elected Feng Wenfeng, Yang Xuejiu, Li Qiujun, Tang Guanyu, Yu Danhan, Zhang Shimin, Yang Xueyao, Wu Qingxia and Wu Qingxia as the temporary chairmen.

 

Bao Qiongzhi and Zhu Yanying are executive members, Gu Mofei and Gu Qingyao are documents, Bao Tao is conference recorder, Lu Xiaoman and Ding Yunbi are responsible for propaganda work, and Chen Xiaocui is editor. Since then, Yudanhan, Huang Yingfen, Zhu Yanying, Xu Hui, Yu Jingzhi, Zhou Linxia, Bao Yahui, Xie Yingxin, Xie Yuemei, Pang Zuoyu, He Xiangning, Yu Weidan, Yang Manhua and Fan Chanfen have responded, which can be called an unprecedented gathering of women's art circles in "extremely prosperous moments". Chen Xiaocui also recorded the grand occasion of the Calligraphy and Painting Club in his Complete Works of Cuilou Yincao. The preface of the Painting Exhibition Xiaoji in Volume 8 of Danqing Collection states that Jiaxuchun created a women's painting and calligraphy exhibition on the sea, which was gathered unexpectedly for a while, with 120 people, it can be said to be flourishing. For the sake of poetry, we should keep the claws. Most of the masters and masters of women's painting and calligraphy at that time were gathered in the painting and calligraphy fair, including Li Qiujun, Gu Qingyao, Bao Yahui, Gu Fei, Fan Chanfen, Pan Su, Wu Qingxia and Yu Zhizhen, and Chen Xiaocui, with the characteristics of ladies'paintings, and Pan Yuliang, a female artist with the expertise of Western painting. Fang Junbi, Guan Zilan, etc. These female artists have certain influence not only in Shanghai, but also in the whole country.

 

Sixty-six years later, the Chinese Women's Calligraphy and Painting Association (CWCPA) was re-registered in November 2015 with the support of enthusiastic businessmen, financial, educational and collectors. The newly-born Chinese Women's Painting and Calligraphy Association is spontaneously composed of young and middle-aged Chinese female artists living in the United States, Canada, Australia, Germany, Britain, France, Japan and other places in mainland China, Taiwan, Hong Kong and Macao. It is the first and only Chinese women's painting and calligraphy art in the world today. Artists International Art Organization, aiming to inherit the eldest son

 

The lofty realm of Chinese female artists from generation to generation carries forward the artistic style of great independence and distinct personality, and contributes to the enhancement of artistic sentiment and artistic popularity of contemporary Chinese female painters and calligraphers, the prosperity of national cultural and artistic undertakings and the realization of the great Chinese dream of rejuvenating the Chinese nation.

 

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