| dc.description.abstract | This study focuses on Xue Shaohui′s poems for paintings, presenting their reflection of the subject′s life and emotional experience and their interaction with the society of the time, and presents a view of Xue Shaohui′s biography in the context of the late Qing dynasty. Xue Shaohui′s poems for paintings are a rich reflection of her life experiences in the context of the late Qing dynasty, as she faces the trauma of the country in the turbulent times and the changes of the times in the clash between East and West.
Xue Shaohui′s poems for self-paintings and her husband′s paintings are a way of expressing herself, her emotional experiences, her life, and her sentiments. They also expand the scope of Qing dynasty women′s painting and calligraphy from the emotions of their chambers and self-realisation to the concerns of the nation and the spirit of the times. The poems for self-paintings present the image of Xue Shaohui as a talented woman who is self-respecting, studious and deliberate, as well as the image of a ′wise woman′, a ′poor woman′ who is diligent and careful, and a ′woman of leisure′ who is indifferent and retiring. The poems for her husband′s paintings respond to Chen Shoupeng′s pursuit of love and spirituality, and they are an expression of their mutual interest and spirituality, elevating the image of a wife to that of a confidante. The interaction between the couple′s poetry and painting is accompanied by the spatial expansion of Chen Shoupeng′s footprints at sea and abroad, reflecting the reform and self-improvement of the foreign affairs movement (1861-1895), which sent students abroad to learn Western languages, laws and technology, the defeat of the China-French War (1883-1885), the grief and anger of the shipowners, the national trauma of the Japanese erosion of the Ryukyus in the modern era, and the sorrow of the scholars. The story of the war between China and France (1883-1885), the sorrow and anguish of the people in the shipbuilding administration, the Japanese erosion of Ryukyu in the modern era, the trauma of the country, and the Chinese centrist European imaginary of ＂Hu Tian＂ and ＂Loulan＂ that had not yet been dissolved by the scholarly class, and the intellectual vision and narrative framework of the discernment between Yi and Xia.
Based on a female perspective, Xue Shaohui′s poems for Talented Lady′s paintings project her own emotional experience and her gender role in society, which triggers her self-pity and pity for her talent, onto the viewing/evaluation of the artist. Xue Shaohui′s inheritance of women′s life experiences such as editing in the boudoir, teaching sons and scriptures, and creating paintings, as well as the construction of the boudoir model through the poems for Talented Lady′s paintings, present the life gestures of ′women′s virtue′ and ′talent′ as a reflection of each other in the Ming and Qing dynasties. In the Shanghai Women′s Studies Movement of the Hundred Days, Xue Shaohui broke the precept of ′internal speech and external speech′ and became involved in public affairs, devoting herself to the discourse and reinvention of a new women′s studies. With the assistance of Chen Shoupeng, she compiled a biography of foreign women, based on the needs of women themselves and taking into account the experiences of the East and the West, to establish a system of women′s studies with ′charity′ and ′learning′ as the core values, and to open up space for women to stand on their own feet in terms of morality and talent. For Xue Shaohui, who sought to construct a model for the boudoir in terms of both talent and morality, Chen Shu′s achievements in teaching her children and the preservation of her paintings, her maternal virtue of ＂teaching the scriptures at night＂ and her painting talent, as well as her moral example of a wise wife and loving mother and her talent in ink and painting, are all in line with her view of women′s studies in which ＂mercy＂ and ＂learning＂ are the main values, and have become the model for the boudoir shaped by her ＂inscriptions of talent and paintings＂.
Based on her personal life experiences, emotional experiences, spiritual aspirations and cultural/political attitudes, Xue Shaohui′s poems for the paintings of Late Dynasty are based on the four themes of ′Hermit′s Ambition′, ′Sorrow for Lost Ways′, ′Mourning for Disruptions′ and ′The Festivity of the Remnant′, and builds up a polyphonic relationship between her and the literati of the Late Dynasty: ′Viewer - Painter′, ′Poetic Text - Pictorial Text′. The four themes of ＂The Viewers - The Painters＂ and ＂Poetic Texts - Pictorial Texts＂ have been established as a Polytonality. The dialogue between the artist and Ni Zhan′s life experience of ＂Wu Hu San Mao＂, and the cultural pursuit, cultural context and social connotation of the social connotation of ＂Wu Hu San Mao＂, is structured in the multiple dialogues of the title and painting.
Xue Shaohui developed and refined her own theories on the creation of paintings based on the theories of Xie He′s ′Six Methods′, Jing Hao′s ′Six Essentials′ and the theories of painters such as Zhang Yangyuan and Guo Ruoxu. Xue Shaohui′s theory of Talented Lady′s painting, ′The Six Methods are transmitted in the true sense of the word′, provides a philosophical interpretation and theoretical tracing of Talented Lady′s good painting and the subtle transmission of the Six Methods, in an attempt to find a place for Talented Lady′s painting in the history of orthodox painting (especially in the history of flower and bird painting).
The literary tradition of talented women and the poetry and paintings of boudoir girls, which had flourished during the Qing dynasty, gradually declined and faced disintegration in the wake of the Western influence on the modernisation of women′s studies. In the midst of this era, Xue Shaohui′s cultural perseverance in response to the changes of the times, whether it be the inheritance and succession of the editorial work of the previous generation of talented women such as Wang Duanshu, or the construction of a paradigm of the talented women of the boudoir represented by Wang Duanshu, Chen Shu and Guan Zhongyi through the ′inscriptions on the paintings of the talented women′, or the search for philosophical interpretations and theoretical traces of the good paintings of the boudoir and the subtle transmission of the six methods in painting theory, are all part of Xue Shaohui′s cultural perseverance in response to the changes of the times during the late cultural transformation. She is committed to reshaping the values of women′s studies, constructing a model of the boudoir, preserving its literature, writing about the tradition of women′s literature, expanding the space for women′s discourse, and realising women′s self-worth, presenting the quality of the subject and the attitude of self-fulfilment in a limited external environment under the constraints of strong external forces. | en_US |