李嵩《骷髅幻戏图》隐喻的宋代女性文化  

The Metaphor of Female Culture in the Song Dynasty in Li Song's Phantom Skeleton Painting

作　　者：张维纳 龚璐 Zhang Weina;Gong Lu(School of Art and Design,Taizhou University,Taizhou 318000,China)

机构地区：[1]台州学院艺术与设计学院,浙江台州318000

出　　处：《台州学院学报》2025年第1期75-81,共7页Journal of Taizhou University

基　　金：2024年度浙江省哲学社科规划项目青年课题“宋代妆奁器物中女性审美观研究”(24NDQN143YBM)。

摘　　要：宋代理学的兴起、南北文化的融合和经济的高度发展,形成了独具特色的宋代文化形态。这种文化形态在宋代绘画中多有体现。南宋画家李嵩绢本设色团扇画《骷髅幻戏图》中妇人不同的装束以及形态,成为当时一个地域的俗世哲学符号。这体现出“靖康之乱”后,大批学者文人带来的北方中原“正统”的文化形式,和南方本土多维的文化形式的相互渗透融合。女性在当时的社会大环境下,在各个领域作出贡献,促进了宋代物质文明、精神文明的发展,形成了柔顺、谦和、自立、自尊且风采飞扬的宋代女性文化。The rise of Neo-Confucianism in the Song Dynasty,the integration of North and South cultures and the high development of economy cultivated a unique cultural form that is often reflected in the then paintings.The various costumes and figures of women in the colored round silk fan paint⁃ing Phantom Skeleton Painting by the Southern Song Dynasty painter Li Song became a regional sym⁃bol of secular philosophy at that time.After the Jingkang Rebellion,the"orthodox"cultural forms of the northern Central Plain brought by a large number of scholars and literati and the multi-dimension⁃al cultural forms of the Southern region infiltrated and integrated with each other.In such a social en⁃vironment,women made outstanding contributions in various fields to promote the development of mate⁃rial and spiritual civilization,forming a soft,modest,independent,self-respecting,and elegant female culture in the Song Dynasty.

关 键 词：李嵩 《骷髅幻戏图》 女性文化 

分 类 号：D691.9[政治法律—政治学] J212[政治法律—中外政治制度] K244[艺术—美术]