从“镜中女人”到“妒妇”——再谈《女史箴》的“女性空间”与女性史问题  

From“the Woman in the Mirror”to“the Jealous Woman”:On“Female Space”and Female History Issues in Admonitions of the Instructress to Court Ladies

作　　者：苏典娜 Su Dianna(School of Arts and Communication,Beijing Normal University)

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《美术》2025年第4期96-111,共16页Art Magazine

摘　　要：本研究旨在深入探讨《女史箴》的创作动机、权力结构等关键问题,深入分析《女史箴》的文学形象与《女史箴图》的艺术形象的构建。本文结合《女史箴图》中的“镜中女人”形象,以及历史研究中贾南风所代表的“妒妇”“悍妇”形象,进一步深化对该图像中“女性空间”的理解。此外还探讨了传世文本与作品中的文字与图像之间的交织关系:《女史箴》与《女史箴图》不仅反映了魏晋时期文学与图像艺术,更揭示了当时的社会状况以及与女性相关的思想议题,其创作目的之复杂值得深入探讨。《女史箴》中的形象生成不仅揭示了对男性和女性权力者的规劝,还涉及对当权女性形象的扭曲与丑化,为美术史经典作品的研究开辟了新的讨论路径和研究可能性。This article studies key issues such as the creation purpose and power structure regarding the poetic text Admonitions of the Instructress to Court Ladies composed by official Zhang Hua,and analyzes how the literary image in the text and the artistic image in the painting Admonitions of the Instructress to Court Ladies created by Gu Kaizhi were built.This article deepens the understanding of“female space”by analyzing“the woman in the mirror”in the painting and“a jealous and violent woman”represented by Jia Nanfeng,protagonist in the text.It also explores the relationship between the text and the painting:they not only reflect the literature and image art of the Wei and Jin Dynasties,but reveal social conditions and ideological issues regarding women at that time.The reason why they were created are so complex that they deserve in-depth discussion.The image in the text not only corrects the behaviour of men and women in power,but distorts and vilifies women in power,providing new discussion paths and research possibilities for classic works in art history.

关 键 词：女史箴 女史箴图 女性空间 女性史 历史研究 图像 

分 类 号：J212[艺术—美术]