The Calligraphy and Painting of Ming Dynasty Courtesan Artists: A Study on Their Relationship with the Literati Painting Tradition

This paper analyzes the works of three female painters from the Ming Dynasty (明代) — Ma Xianglan (馬湘蘭, 1548-1604), Liu Rushi (柳如是, 1618-1664), and Xue Suso (薛素素, dates unknown) — focusing on how they inherited and transformed the tradition of literati painting (文人画). In an effort to overcome the limitations of previous research on literati painting, which has been male-centered, this study examines how female artists within the courtesan community built their own aesthetic characteristics and unique artistic worlds within the context of the literati painting tradition through their calligraphy and painting works. The study reveals that Ma Xianglan used the motifs of orchids and bamboo (蘭竹) to express feminine sensibilities; Liu Rushi combined calligraphy and painting to convey a strong spirit and inner beliefs; and Xue Suso reinterpreted traditional motifs and techniques with delicate emotions, creating her own distinctive artistic atmosphere. Their works were not simply a continuation of the literati painting tradition, but opened new aesthetic possibilities based on their identities and life experiences, contributing to the redefinition of the status and role of female artists in Ming Dynasty art history. This research will contribute to expanding the perspective of existing studies on literati painting by revealing how female artists in the Ming Dynasty established independent artistic worlds within a male-dominated artistic environment. Through this, the paper aims to confirm that Ming Dynasty courtesan artists were active artistic subjects in the cultural exchanges and social changes of their time, providing an opportunity to reassess their artistic value and historical significance. 本论文以明代(明代)妓女书画家马湘兰（1548-1604）、柳如是（1618-1664）、薛素素（生卒年不详）的作品为中心，分析了她们如何继承和变革文人画传统。为了克服现有文人画研究以男性为中心的局限，本研究通过分析妓女书画家的书法和绘画作品，考察了女性艺术家在文人画传统中如何建立自己的审美特色和独创的艺术世界。 研究结果表明，马湘兰通过兰竹题材表达了女性的情感；柳如是结合书法和绘画，表达了她坚韧的气节和内心信念；薛素素则通过女性细腻的情感重新诠释传统题材和技法，创造了自己独特的艺术气质。她们的作品不仅仅是文人画传统的承袭，更是在自身身份和生活经历的基础上，开创了新的审美可能性，推动了明代艺术史中女性艺术家的地位和作用的重新定义。 本研究通过揭示明代女性书画家如何在以男性为主导的艺术环境中形成独立的艺术世界，将为扩展现有文人画研究视角做出贡献。通过此研究，确认明代妓女艺术家在当时的文化交流和社会变革中作为主动艺术主体的角色，并为重新评价她们的艺术价值和历史意义提供了契机。