中国美术史中,女性艺术家基本处在一种“缺席”状态,即使有出现,往往也是三言两语的记载。而辛亥革命以后,新思潮兴起,女权运动日盛,以“性别”为特征的“女性艺术家”开始从男性话语中分离出来,涌现出大批的女书画家。鉴于这种情况,文章对民国时期的女性艺术家以及她们的艺术情况进行分析和探讨。 In Chinese art history, female artists are basically in a state of “absence”, and even if they appear, they are often recorded in a few words. After the Revolution of 1911, the emergence of a new trend of thoughts, the flourishing feminist movement, the “female artist” featuring “sex” began to be separated from the male discourse and a large number of women calligraphers emerged. In view of this situation, the article analyzes and discusses the female artists in the Republic of China and their artistic conditions.