Lady with Fan《持扇的女子》

Shortly after Gustav Klimt’s death in 1918， a photograph was taken in the artist’s studio. It shows two paintings， each displayed on an easel： Lady with Fan and the unfinished work The Bride.

1918年古斯塔夫·克里姆特去世后不久，有人拍了一张他画室的照片。照片显示，画室里有两幅画，分别放置在两个画架上：一幅是《持扇的女子》，另一幅是未完成的《新娘》。

While most of his portraits depict society ladies， Klimt probably painted an unknown model in Lady with Fan. In the seductive presentation of this unidentified woman， probably a dancer， she appears self-confident and poised. With her head held high， her shoulders exposed， and her bare bosom covered by a fan， she gazes out beyond the viewer.

克里姆特创作的肖像画大多描绘的是社交名媛，但 《持扇的女子》的主人公可能是一个不知名的模特。这个身份不明的女子可能是名舞者，画中的她颇具魅力，看上去自信而镇定。她昂头露肩，用一把扇子遮住裸露的胸部，目光投向画外，并未看向观者。

Gustav Klimt began studying East-Asian art as early as the 1890s. Initially， he was primarily interested in Japanese art， but in later years turned to Chinese， Korean， Persian， or Indian creative styles. Klimt adopted not only decorative elements from the art of these countries but also compositional aspects. He studied typical color schemes， for example， and transferred them into his paintings.

古斯塔夫·克里姆特早在1890年代就开始研究东亚艺术。他最初主要对日本艺术感兴趣，但后期转向了中国、朝鲜、波斯或印度的创作风格。克里姆特不仅从这些国家的艺术中吸取了装饰元素，还在构图方面有所借鉴。例如，他研究了典型的配色方案，并应用在自己的画作中。

Lady with Fan was influenced by Chinese and Japanese art especially. Wrapped in a Chinese robe， the lady flirtatiously hides behind a decorated fan. The yellow wallpaper in the background features several characteristic motifs that are ubiquitous symbols of good fortune in East-Asian art： the Chinese phoenix （fenghuang）， a crane， a golden pheasant， and the lotus flower. Another reference to Japanese painting is the lady with a fan herself： bijin-ga1， Japanese woodblock portraits of beautiful celebrities such as geishas.

《持扇的女子》特别受到了中国和日本艺术的影响。画中女子身着中式长袍，轻佻地将一把装饰华丽的扇子挡在身前。背景的黄色壁纸上有若干东亚艺术中普遍象征好运的特色图案：中国的凤凰、仙鹤、锦鸡和莲花。另一个借鉴了日本绘画的元素就是拿扇女子这一形象：日本美人画——描绘美貌名人（如艺伎）的日本木版画肖像。

Like Schiele2， Kokoschka3， and other artists from his circle， Klimt was a member of the Vienna Institute for Cultural Research. Founded in 1915， the institution advocated a pacifist， egalitarian world culture and rejected the idea of the cultural superiority of the West， a notion widespread at the time. Klimt’s paintings embody his belief： European and Asian pictorial traditions are brought together in equal measure to form a harmonious symbiosis.

像其圈子里的席勒、柯克西卡等艺术家一样，克里姆特也是维也纳文化研究所的成员。该机构成立于1915年，倡导和平、平等的世界文化，反对当时普遍存在的西方文化优越论。克里姆特的画作就体现了他的这一观念：将欧洲和亚洲的绘画传统在同等程度上加以融合，呈现和谐共生的关系。

1指日本美人画，是日本浮世绘的一种，产生于18世纪江户时代，用浮世绘桃色版画（锦绘）的形式描绘当时人气斐扬的戏剧名角、演员、时代人物、俊俏美女，受到广大民众的欢迎。日本美人画吸收了中国唐代仕女画的许多特点。 2指埃贡·席勒（1890—1918），奥地利画家，维也纳分离派的重要代表，20世纪初重要的表现主义画家。 3指奥斯卡·柯克西卡（1886—1980），奥地利表现主义画家、诗人兼剧作家。其创作前期深受克里姆特和维也纳分离派的影响。