唐代诗词中屏风的性别化研究  

Gendered Screens in Poems of the Tang Dynasty

作　　者：孟雅婧 张玉勤 MENG Yajing;ZHANG Yuqin(School of Literature,Jiangsu Normal University,Xuzhou 221116,China)

机构地区：[1]江苏师范大学文学院,江苏徐州221116

出　　处：《湖北文理学院学报》2024年第4期47-52,共6页Journal of Hubei University of Arts and Science

摘　　要：屏风是古代常见的家居物品,其各项特征界定了使用者的身份,在传统家庭内部则表现出男女两性之间的等级差异。唐代文学中,屏风意象同样呈现出典型的性别化特征。女性闺房中屏风上的图案多隐喻女子的感情状态,此类屏风还参与了观者对女性的窥视。文人书斋中的屏风则往往会升格为一种特殊的象征性文化符号,呈现出男性特质和精英色彩。比较两者,女性之身份建构是在他人的窥视下、想象中被动完成的,男性文人作为享有政治和文化特权的精英,则积极利用屏风这一媒材来彰显文人群体的精神面貌。The screen is a common household item in ancient times,and its characteristics define the identity of the user.In the traditional family,it shows the grade difference between men and women.In the literature of the Tang Dynasty,the screen also presents the typical gender characteristics.The patterns on the screen in the female boudoir are mostly metaphors for women’s emotional states.This type of screen also participates in the viewer’s peeping at women.While the screen in intellectuals’study room is often elevated to a special cultural symbol,showing masculine characteristics and elite colors.Compared with the two,women’s identity construction is passively completed under the prying eyes of others and in the imagination,while male intellectuals,as elites with political and cultural privileges,actively use the screen as a medium to highlight the spiritual outlook of intellectual groups.

关 键 词：屏风 屏风画 唐诗 五代词 性别化 

分 类 号：I207.22[文学—中国文学]