「母儀」與「自我」交光疊影的圖象－宋代婦女心靈形象的試探

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Title:	「母儀」與「自我」交光疊影的圖象－宋代婦女心靈形象的試探
Other Titles:	The Interblend of "Motherhood" and "Ego": The Image and Mentality of Women in Song Dynasty
Authors:	陳旻志;Chen, Ming-Chih
Contributors:	文學系
Keywords:	母儀;女性文學;才女;心靈圖象;女性空間;璿璣圖;打馬圖說;Motherhood;Female literature;Talented woman;Mentality;Places of female
Date:	2003-05
Issue Date:	2022-08-25 15:11:57 (UTC+8)
Abstract:	宋代婦女形象的演變，基本上也可以視為一個漸進而日益清晰的歷程，正史或閨閣文獻中表彰的婦女事蹟與神韻，除了傳統上忠貞節烈的座標性意義之外，她開始具備了美學積澱的旨趣。此期的女性心影和圖象，在「母儀」與「自我」的交光疊影下，我們試圖以「建築」的形象，作為一個具體詮表的進路。另一方面，無論是合院或故宮，我們最直接感受到的，正是一股封閉而自囿的氛圍；籠罩於四面的牆身，是「宮室」也好、「閨閣」也罷、這「宮」、「室」、「閨」、「閣」的女性生活空間，每每都是封閉性最強的建築單元，恰是古訓以來要求女性「安身立命」的場域。史家筆下縷記這些女子的身影餘韻，不外乎試圖勾勒出足堪后世遵循的一套法式，就史觀而言，乃主乎王道，近乎人情；但就女性自己而言，既然「常恨此身非我有」，不如讓小我的囿限，逐步開拓為大我的格局，這一路向，則以「母儀」的典範作為依循的正軌。在「母儀」與「自我」層層累加的光影之中，迴環返復的心理意緒。遂交織為繁複多麗的圖象，外在事功既不可追求，古今多少才女的質具與識見又當如何排遣宣洩？無疑的「文學」的「疆域」，恐怕才是提供她們消永晝、逞才學的機會。宋代的李清照和朱淑真，無疑的就是個中好手，不讓鬚眉，她們的〈打馬圖說〉和〈璿璣圖記〉，可視為宋代婦女內在的心靈圖像，闡釋出歷代女性的真切告白。女性心色蛻化的層次，其實綰結著無數矛盾而綿密的圖象，上述所及，由「合院」、「故宮」「璿璣圖」以迄「打馬圖」，我們得以管窺女性心靈圖像的開展，其實仍舊是在曲折中成就有限的格局。本文結合空間圖象的探索，旨在說明許多約定俗成的規範，勢必都不能擺脫現世既存的盲點，倘使我們不能揭示其中潛在的有限性，那麼所有的詮釋都很難宣稱如實把握了對象的實況。女性之於自身囿限空間的掙扎，無疑的寓有極大的啟示，令人緬懷不已。 The article deals with the image and mentality of women in Song Dynasty. Their images that the literature presents are not only of historical, but also of aesthetical interest. We are going to get it through the image of the architecture of that time. Both the palace or the boudoir, the architectures that the women lived in, were very secluded from the outside world. The historians of that time tried to describe normal images of women for us. And the women of that time got a new image on their own ways: Motherhood. The interblend of “Motherhood” and “Ego” made the mentality of women in Song Dynasty. Lee Ching Jaw and Chu Shwu Jen, the female writers in Song Dynasty, very well described this mentality in their Da Ma Tu Shwo and Ruey Chyi Tu Jih.
Relation:	人文社會學報 4期 pp.197-215
Appears in Collections:	[Department of Literature] Periodical Articles

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