翻阅过好几个版本的美术史，发现书中各朝各代几乎都是男性独揽画坛，很少有女性画家的身影，想必这并不是偶然。清代汤漱玉的《玉台画史》是最早的专门为女性画家编撰梳理的史册，书中简要梳理了从虞朝到清朝223名女性画家，我们对其中两个最重要的画家群体——名媛和名妓画家从社会背景、学习方式、风格成因、审美价值等方面进行分析，探寻沦落为第二性的女性画家如何与世对抗，逐渐崛起。

如今的社会开放多元包容性强，且当代女性画家的在画坛中的力量已经不容忽视，女性画家如何在绘画界继续扎稳脚跟，将来要走怎样发展之路？于是翻阅大量有关女性绘画的书籍史料和现代文章，在前人研究的基础上进行分析，从明清女性画家身上汲取灵感，从中寻找未来女性绘画的发展之路。

本文共分为五章，共有以下内容，第一章节为开篇绪论，内容包括论文的研究意义、研究现状、研究对象、研究方法及可行性分析、概念界定，清晰交代文章基础概念。第二部分是古代女性沦为“第二性”的政治、经济、文化三方面原因。第三部分是明清女性画家苏醒意识出现的原因。第四部分是明清女性绘画的学习情发展情况及被接受程度的改变。最后一部分是通过用具体的实例进行立体贯穿式的阐述以及对我创作的启示和对未来的展望。

After reading several editions of art history, I found that almost all the men in the book dominated the painting world in different dynasties, and there were very few female painters. It must be no accident. Shang Shuyu in the qing dynasty "jade set point" is the earliest specifically for female painter compilation of the history of the comb, the book briefly combed the danger from dynasty to the qing dynasty 223 female painter, we are two of the most important group of artists, celebrities and famous prostitute painters from the social background and the causes of learning style, style, aesthetic value and so on carries on the analysis, To explore how the female painters who had been reduced to the second sex fought against the world and gradually rose.

Today's society is open, diverse and inclusive, and the power of contemporary female painters in the painting world cannot be ignored. How can female painters continue to establish a foothold in the painting world and how can they develop in the future? Therefore, I consulted a large number of books and historical materials and modern articles on female painting, analyzed them on the basis of previous studies, drew inspiration from female painters in the Ming and Qing Dynasties, and looked for the development path of female painting in the future.

This paper is divided into five chapters, including the following contents. The first chapter is the introduction, including the research significance, research status, research objects, research methods, feasibility analysis, concept definition, and clearly explain the basic concepts of the paper. The second part is about the political, economic and cultural reasons why ancient women became the "second sex". The third part is the reason of the awakening consciousness of female painters in Ming and Qing Dynasties. The fourth part is about the development of women's painting in Ming and Qing Dynasties and the change of its acceptance. The last part is through the use of concrete examples for three-dimensional penetration of the elaboration and the inspiration to my creation and the prospect of the future.