宋代梳妝仕女圖之研究

A Study of the Paintings of Ladies' Dressing and Making-up in the Song Dynasty of China

祝暄惠(Shuan-Hui Chu)

指導教授 ： 陳葆真

國立臺灣大學/文學院/藝術史研究所/碩士(2012年)

https://doi.org/10.6342/NTU.2012.01285

摘要

宋代梳妝仕女圖屬於婦女畫的一環，它的發展脈絡可自婦女畫中看出。依婦女畫中的女性活動內容可分成「歷史故事」、「神話傳說」、「人物故事」與「生活」四大畫類。漢代時女子對鏡的墓室畫像石，是梳妝圖的雛形，主要功能為避邪，屬於生活畫類。魏晉南北朝時，梳妝圖被當作提醒婦女重視德性的鑒戒圖像，屬於歷史故事畫類。唐時，梳妝圖是畫家描繪婦女生活情態的題材，婦女梳妝的姿態動人，重在吸引觀者的目光，屬於生活畫類。北宋梳妝圖以墓室壁畫為主，代表婦女盡婦職及象徵婦德，介於生活畫與歷史畫類間。南宋梳妝仕女圖以小幅作品為主，使用小型庭園為背景，屬於婦女生活畫。其中，背景元素的佈局與描寫美女的話本文學在形式上有著異曲同工的效果。不僅話本文學如此，宋詞與繪畫亦同時出現使用美女與庭園相結合的內容，梳妝圖和南宋文學間似乎有著不可思議的關聯。
今日流傳下來四幅南宋梳妝仕女圖，分別是《調鸚圖》、《靚妝仕女》、《盥手觀花》和《繡櫳曉鏡》，作品皆表現女子伴隨著銅鏡、桌案、花卉、床榻等各種元素在小型庭園中梳妝的場景。《調鸚圖》表現楊貴妃鸚鵡雪衣娘即將飛上鏡臺的情節；《靚妝仕女》描繪高潔、清雅的女性形象；《盥手觀花》的作者將陳德武〈水調歌頭〉詞牌下的四首詞的內容濃縮，繪製春天晚上美人在庭園中欣賞牡丹花與金盆撈月的情景。《繡櫳曉鏡》則由畫家挑選南宋一些仕女畫的元素，重組成一幅團扇。在這些梳妝圖的個別意涵之外，宋末至元初的文人常將梳妝仕女圖賦予閨怨情思，因此對南宋人而言，看見婦女梳妝的圖像時，通常會聯想到女子孤寂地思念情人的意象。

關鍵字

婦女畫 ； 梳妝 ； 仕女 ； 小型庭園 ； 婦德 ； 閨怨

並列摘要

The Women Paintings can be classified into four categories, including "historical stories," "fairy tales," "fictitious personages," and "scenes from life." The Paintings of Ladies' Dressing and Making-up in the Song dynasty is part of it and we can trace it back from the history of The Women Painting. The "scenes from life" in Han Dynasty was regarded as prototype of The Woman Painting which was used for repelling evil spirits. In Southern and Northern Dynasties, the Paintings of Ladies' Dressing and Making-up represented virtue of women and the core of those paintings were based on "historical stories." In the Tang Dynasty, the subject of the Paintings of Ladies' Dressing and Making-up is based on "scenes from life," depicting the beauty and attracted movement of dressing and making-up women, aiming to attract audiences’ attention. The subject of The Paintings of Ladies' Dressing and Making-up in Southern Song Dynasty was combined the spirit of "scenes from life" and "historical stories," representing the virtue and responsibility of women. An incredible finding from these paintings was that there existed a mysterious relationship between literature and the Paintings of Ladies’ Dressing and Making-Up in Southern Song Dynasty. Many paintings and literature works contained the garden, beautiful women, and the surroundings which closely related to the subjects of Painting of Ladies’ Dressing and Making-Up.
There are four Paintings of Ladies' Dressing and Making-up left in the Southern Song Dynasty, including Hanchen Su, Lady at Her Dressing Table in a Garden, anonymous; Lady Watching a Maid with a Parrot, anonymous; Looking in a Mirror by an Ornamental Box and anonymous, Flowers Viewing and Washing Hands, which are all based on the subject of "scenes from life," with backgrounds of little gardens, beauties doing making-up and dressing. The compositions of these all four paintings corresponded with literature in Song Dynasty.
The painting “Lady Watching a Maid with a Parrot” described that concubine Yang's (楊貴妃) parrot were flying to dressing table. The painting “Lady at Her Dressing Table in a Garden” alluded a noble as well as virtuous lady. The painting “Flowers Viewing and Washing Hands” described the content of Dewu Chen's(陳德武)poems depicting that ladies appreciated peonies and tried to scoop the moon from a golden basin. The painting “Looking in a Mirror by an Ornamental Box” were composed of motifs from other paintings of Ladies' Dressing and Making-up in the Southern Song Dynasty. In Southern Song Dynasty, men usually thought of their wives and beloved women when they saw paintings of Ladies' Dressing and Making-up. Therefore, the paintings of Ladies' Dressing and Making-up were regarded as the works that women missed their husband.

並列關鍵字

women painting, dressing and making-up ； lady ； little garden ； virtue ； Boudoir Sorrow

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