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Abstract
In the late Ming, illustrated materia medica works became increasingly salient among educated elites in the Jiangnan area. This article analyzes two hand-illustrated treatises, Jinshi kunchong caomu zhuang and Bencao tupu, and the cultural contexts of their production. The interplays between copying and editing and image-text relationships in the two works provide insight into how materia medica was exploited as a pictorial subject for ideas about the human-nature dynamic. I demonstrate that materia medica images represented symbolic possession of the natural world and thus served as a maker of social distinction. I also shed light on the perpetuated tradition of making images of materia medica as an intellectual practice. My examinations of materia medica images by women artists also challenge the correlations between gender and representations of flora and fauna in the historiography of Chinese paintings.

Die Entstehung moderner Kunst und Kunsthochschulen in der Türkei ist Thema zahlreicher Studien geworden. Wie die Autoren herausstellen, fehlt dabei jedoch ein entscheidender Aspekt: die Teilhabe von Frauen. Im ersten Teil ihres Artikels stellen die Autoren prominente Künstlerinnen, wie Mihir Hanim, Celie Hanim, Fatma Nazli und Sabiha Rusdi, vor. Dabei gehen sie auf ihre sozialen wie familiären Hintergründe ein, die Orte, wo sie Kunst studierten, und ihre anschließenden Karrieren als vorwiegend Kunstdozentinnen an der 1914 für Frauen errichteten Kunsthochschule (Inas Sanayi-i Nefise Mektebi). Im zweiten Teil betrachten die Autoren die wöchentliche Frauenzeitschrift "Süs", die in ihrer Ausgabe vom 11. August 1923 eine Austellung bespricht, in der mehrere Frauen ihre Kunst öffentlich ausstellten. (DÜI-Mjr)

Different factors were affecting the presence of women during the Pahlavi era. In new structures after the constitutional period and along with the absolute modernism of Pahlavi, discourses changes were made based on democracy, socialism, Shia resistance and autonomy, court to government and political figures to people. During this period the role of women was formed on the basis of their social position and in their gender approach it changed from a <class in itself> to a <class for self>. The consequences of social contexts led to witness more active presence of women during Pahlavi era compared with the past periods particularly in the visual arts arena; so that the history of the Tehran galleries from 1953-1978 which reflects their activities during that time confirms this fact. The purpose of the present essay is to analyze the social contexts which have attracted women from margin to the center and attending to them since no study has been done in this respect seems essential and it's an attempt to answer the question that what social contexts have been influential in boosting up the presence of women especially women painters of Pahlavi era? In this research the data collect is library type and filed study and it has been compiled in a comparative descriptive-analytic method, the origin and social contexts of the women painters of the Pahlavi era whose works were displayed were studied and analyzed and it can be inferred that the presence of supportive men in families, education, social context, urban life, publicizing the culture thanks to the cultural foundations and media, the actual and legal presence of the queen, government support due to cultural policies, women social movements, and the transformation of the women role in twentieth century had decisive role on enhancing the social position of women particularly the role of the women painters of the second Pahlavi era.

Explores the history of WPW, from the founding members' early efforts to support fellow women artists, to the cultural exchanges and international exhibitions in which members have taken part. The author examines their artistic achievements and the recognition they received from both the national and the international art world.

Afghan contemporary women painters relying on the foundations of modernism and the legacy of visual tradition have found a great presence in contemporary art in this country. In this regard, these painters have created artworks in political and social contexts, women's issues, portraiture, inanimate nature, and figures. The question is how Afghan contemporary women's painters have used the rich country's assets in their contemporary painting? And what are their attitudes to this old treasure? This paper provides results using a descriptive-analytical method and using the library and archive resources. First, not only the attitude towards the past and the visual capital of painting, both for men and Afghan contemporary women's painters, are not reactionary, but it is also wealth for their contemporary works; it has been promoted visually. It was also found that the functions of painting in the works of these female painters can be seen in the application of elements such as colour (coordination), golden colour, divergence or use frame failure by plant images, the combination of plant designs, geometric, illumination or divination, and Calligraphy with painting, as well as the combination of naturalist painting with plant designs, as well as combining elements such as Simorgh, Islamic architectural designs, or flowers and chicken with oil paintings. It was also found that two types of socio-political approaches to expressing women's concerns and issues and paying attention to painting to revitalize the heritage of this land have attracted the most attention of the Afghan contemporary women painters.