女性作为审美对象,始终是为东西方绘画中永恒的主题。无论是中国东晋顾恺之的《女史箴图》、唐代周仿的《簪花仕女图》,还是欧洲从文艺复兴时期达·芬奇的《蒙娜丽莎》到21世纪卢西恩·弗洛伊德的《英国女王像》,大量作品是从男性的角度审视女性,同时,通过女性这面镜子又反映了男性画家自身的特质。这与男性在社会结构中因为历史原因形成的社会角色以及掌握和主导诸多话语权都有一定的关系。 As an aesthetic object, women are always the eternal theme in East-West painting. Whether in the East China Jin Gu Kaizhi’s “female history of Pro” figure, the Tang Dynasty imitation of the “lady flower figure”, or Europe from the Renaissance Leonardo da Vinci’s “Mona Lisa” to the 21st century, Lucian Freud’s “ British Queen, ”a large number of works from the perspective of men look at women, at the same time, through the mirror of women reflects the male painter’s own characteristics. This is related to the social role of men in social structures for historical reasons as well as the mastery and domination of many discourse rights.