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，有人拍了一張他畫室的照片。照片顯示，畫室里有兩幅畫，分別放置在兩個(gè)畫架上：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.

克里姆特創(chuàng)作的肖像畫大多描繪的是社交名媛，但 《持扇的女子》的主人公可能是一個(gè)不知名的模特。這個(gè)身份不明的女子可能是名舞者，畫中的她頗具魅力，看上去自信而鎮(zhèn)定。她昂頭露肩，用一把扇子遮住裸露的胸部，目光投向畫外，并未看向觀者。

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年代就開始研究東亞藝術(shù)。他最初主要對(duì)日本藝術(shù)感興趣，但后期轉(zhuǎn)向了中國(guó)、朝鮮、波斯或印度的創(chuàng)作風(fēng)格?？死锬诽夭粌H從這些國(guó)家的藝術(shù)中吸取了裝飾元素，還在構(gòu)圖方面有所借鑒。例如，他研究了典型的配色方案，并應(yīng)用在自己的畫作中。

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》特別受到了中國(guó)和日本藝術(shù)的影響。畫中女子身著中式長(zhǎng)袍，輕佻地將一把裝飾華麗的扇子擋在身前。背景的黃色壁紙上有若干東亞藝術(shù)中普遍象征好運(yùn)的特色圖案：中國(guó)的鳳凰、仙鶴、錦雞和蓮花。另一個(gè)借鑒了日本繪畫的元素就是拿扇女子這一形象：日本美人畫——描繪美貌名人（如藝伎）的日本木版畫肖像。

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、柯克西卡等藝術(shù)家一樣，克里姆特也是維也納文化研究所的成員。該機(jī)構(gòu)成立于1915年，倡導(dǎo)和平、平等的世界文化，反對(duì)當(dāng)時(shí)普遍存在的西方文化優(yōu)越論。克里姆特的畫作就體現(xiàn)了他的這一觀念：將歐洲和亞洲的繪畫傳統(tǒng)在同等程度上加以融合，呈現(xiàn)和諧共生的關(guān)系。

1指日本美人畫，是日本浮世繪的一種，產(chǎn)生于18世紀(jì)江戶時(shí)代，用浮世繪桃色版畫（錦繪）的形式描繪當(dāng)時(shí)人氣斐揚(yáng)的戲劇名角、演員、時(shí)代人物、俊俏美女，受到廣大民眾的歡迎。日本美人畫吸收了中國(guó)唐代仕女畫的許多特點(diǎn)。 2指埃貢·席勒（1890—1918），奧地利畫家，維也納分離派的重要代表，20世紀(jì)初重要的表現(xiàn)主義畫家。 3指奧斯卡·柯克西卡（1886—1980），奧地利表現(xiàn)主義畫家、詩人兼劇作家。其創(chuàng)作前期深受克里姆特和維也納分離派的影響。