在清末民初时期，社会受到“师夷强技以制夷”思想和新文化运动的双重影响，学 习西方先进思想成为社会改革发展的主要途径。这一时期，留学思潮兴盛，许多有志之 士远赴西方留学后回国，推动了新式教育理念的兴起。与此同时，女性也开始融入新式 学校教育，成为社会变革中的一部分。在这个时代的潮流中，许多女性艺术家以独立身 份参与各类讨论与实践，其中关紫兰是独具代表性的人物。 关紫兰是中国最早一批受到“野兽派”影响的女性艺术家之一，她在掌握西方艺术 的表现技法后，重新从东方女性的审美角度出发，进行中西艺术的融合表现，创造出具 有浓厚东方审美意蕴的艺术形式。关紫兰的作品于形式上，具有西方现代艺术的表现手 法;于情怀上，将西方文化与中国本土文化贯通融合。 本文通过立足于清末民初的留学潮和五四时期的新文化运动的时代背景之下，以关 紫兰油画中女性肖像题材形象作为切入点，通过对关紫兰以女性肖像为创作题材的系列 油画作品及其绘画语言的深入研究，着重解读其绘画作品中的色块构成、线条和笔触技 法上的特点。同时，分析了关紫兰油画女性肖像油画与新女性主体意识产生的社会因素 与时代背景，并探讨了其成因与具体表现。 基于此，我们旨在形成对关紫兰将闺秀之意识形态融入油画艺术的认知。最终，文 章阐述了关紫兰油画艺术中的新女性主体意识，以及这种意识引发的学界对女性艺术家 价值的关注，以及对当代油画艺术发展所产生的影响。从中倡导当代油画艺术创作者应 清晰把握油画艺术的脉络，并以中西融合的视角构建起自身的艺术体系。

During the late Qing and early Republican period, society was influenced by both the idea of "learning from the West to strengthen China" and the New Culture Movement, making the adoption of Western advanced ideologies the primary pathway for social reform and development. During this time, there was a flourishing trend of studying abroad, with many aspiring individuals traveling to the West and then returning to China to promote the rise of new educational concepts. Simultaneously, women began to integrate into the new school system, becoming part of the social change. Amidst this era's currents, many female artists participated in various discussions and practices as independent individuals, with Guan Zilan being a particularly representative figure. Guan Zilan was one of the earliest female artists in China to be influenced by the "Fauvism" movement. After mastering Western art techniques, she embarked on a journey to merge Eastern and Western art from the perspective of Eastern female aesthetics, creating artistic forms rich in Eastern aesthetic connotations. In form, Guan Zilan's works adopted the expressive techniques of Western modern art, while in sentiment, they bridged Western and indigenous Chinese cultures. This article delves into the era's context, focusing on the trend of studying abroad in the late Qing and early Republican periods and the New Culture Movement of the May Fourth Movement. It takes Guan Zilan's oil paintings of female portraits as a starting point, conducting an in-depth study of her series of oil paintings featuring female portraits and their painting language, emphasizing the characteristics of color block composition, lines, and brushwork techniques in her works. Furthermore, it analyzes the social factors and historical background that led to the emergence of Guan Zilan's oil portraits of women and discusses their causes and specific manifestations. Based on this, the aim is to form a cognitive understanding of how Guan Zilan integrated the ideology of the "virtuous woman" into her oil painting art. Ultimately, the article elaborates on the new female subjectivity in Guan Zilan's oil painting art and the academic attention it has sparked towards the value of female artists, as well as its impact on contemporary oil painting art development. It advocates for contemporary oil painting artists to have a clear understanding of the trajectory of oil painting art and to construct their own artistic systems from a perspective of East-West integration.