绘画中的女性形象塑造是中华民族在20世纪复杂的历史境遇下构建民族文化身份认同的特殊方式，新中国成立以来工笔画中的女性形象既是新中国社会变迁、文化观念演变的重要参照，也是工笔画探索历程的浓缩，具有重要的研究价值。本文拟解决的问题是：第一，通过对新中国成立以来各历史阶段工笔画中女性形象汇总、归纳和分析，提炼隐含在这些形象特征中的历史叙事和女性社会地位、观念的变化；第二，借助“社会性别”研究方法，从性别视角呈现不同历史语境下形象的性别角色差异，分析社会文化是怎样通过工笔画对女性的社会性别进行干预、修正和建构的，探寻其中隐含的男女关系模式和性别政治；第三，以女性形象为切入口呈现工笔画艺术现代转型和发展的脉络。本文认为，这些女性形象一方面图像化地记录了新中国成立以来中国社会的变迁，另一方面这些形象也是被社会文化塑造而成，女性形象与国家形象是相互塑造的关系，成为新中国镜像，融入了中国民众“人”的自我主体建构。 本文把这些形象按四个时间段梳理：1949—1965新中国文艺政策下女性形象转换；1966—1976文革时期女性形象的红色修辞；1978—1996 改革开放后女性形象中“人”自我意识觉醒；1997—2010女性形象的多元生存体验。 整体来说这些女性形象，呈现出从国家叙事到生活日常，从规范到自由，从关注现实意义到关注审美意义，从国家意识形态强化对女性社会性别的规范和塑造到1978年之后女性自然性别回归的转化，在此过程中凸显了“人”的自我意识。这些转化反映出社会的日渐开放、包容和合理。尽管女性在被言说、被期待过程中逐步获得了一定自我言说的权力，但是女画家在分享男性话语、争取自我文化身份和地位时会与主流意识形态和男性画家呈现相当的一致性，女性视角的缺失其实是工笔画中女性形象塑造偏于浮泛缺乏厚度的重要原因。

The female image in painting is a special way of Chinese national construction of national cultural identity in twentieth Century complex historical circumstances, since the establishment China painting female images are changes of the society, new Chinese culture the concept of evolution of the important reference, but also enriched the exploring course of the Claborate-style painting. These images have important research values . The problems to be solved in this paper are: First, this paper summaries and analyzes the female images in the Claborate-style painting in the historical stages of the new China since the founding of the new China; Second, with the help of "social gender" research method, this paper analyzes how social culture intervenes, corrections and constructs the social gender of women through the Claborate-style painting,and explores the implicit relationship between male and female relations and gender politics;Third, this paper takes the image of women as the entrance to present the modern transformation and development of the Claborate-style painting. The paper points out that these female images in the Claborate-style painting a record of the changes Chinese society since the new China was established, on the other hand the image is shaped by the social culture, female image and national image is shaped each other, become the new Chinese mirror and the construction of the self subject of Chinese people. This paper is divided into four main parts:1949 - 1965 transformation of the female image under the new Chinese literature and art policy; the red rhetoric of the female image during the period of the 1966 - 1976 Cultural Revolution;1978 - 1996, the awakening of "human" self consciousness in the female image after the reform and opening up; the multiple survival experience of the 1997 - 2010 female images. On the whole, the female images show the transformation from national narration to daily life, from norm to freedom, from the concern of reality to the aesthetic significance, from strengthening the standard and shaping of social gender to the return of women's natural sex after 1978.The process strengthened the self-consciousness of "human". These transformations reflect the growing openness, tolerance and rationality of society. Although women have gradually acquired the right of self expression in the process of being told and expected, but women painters share the same character as the mainstream ideology and the male painters when they share the male discourse and strive for the identity and status of their own culture. The lack of female perspective is an important reason for the lack of depth of female image in the Claborate-style painting.