梅花仕女图横幅　清　费以耕　张熊

“三月三日天气新，长安水边多丽人。态浓意远淑且真，肌理细腻骨肉匀。”这是杜甫描述“丽人”出行时的场景。随着近日“丽人行——中国古代女性图像展”在浙江省博物馆西湖美术馆举办，古代“丽人”的千姿百态、作品之外的百味人生呈现在观众面前。本次展览由浙江省博物馆主办，安徽博物院、江西省博物馆、苏州博物馆、湖州市博物馆协办，在展出的160余件（组）展品中，涵盖精选的75幅契合各小节内涵的馆藏古代女性题材画作，并围绕画作搭配展出了80余件（组）与画面内容相关的古代女性饰品、服饰、生活用品等实物，包括瓷器、金银器、铜器、漆器、丝织品等多个门类。展览还推出部分当代女艺术家的作品，以今人之身份呼应“丽人”的主题。

“闺闱”“椒房”“庭院”是三个与古代女性生活紧密相关的词汇，让人不禁联想起《西厢记》《红楼梦》等文学经典中的场景。“女性题材绘画在中国有着极为悠久的历史。战国时期帛画《人物龙凤图》中就出现了一位女性形象，到了魏晋南北朝时期，描绘的女子形象主要是贤德的女子和神话传说中的仙女，如《女史箴图》《洛神赋图》和《列女仁智图》。周昉的《簪花仕女图》、张萱的《捣练图》等则展示出大唐盛世之下贵族女性的华贵之美。五代、宋、元时期，描绘世俗女子的题材范围扩大，如北宋画家王居正的《纺车图》中的女性仅是生活中最普通的农妇。明清两代的仕女画更是数不胜数，流行的长卷和套画，有不少是专门描绘女性生活的图卷。”浙江省博物馆副馆长、本次展览策展人蔡琴表示。

展览以“闺闱风韵” “云幕椒房”“庭院春深”3个单元，从外部到内部，逐步走近古代女性的世界。“闺闱风韵”聚焦古代女性的外在形象。其中的“态浓意远”板块探讨在各种社会文化因素作用下，不同时代对于女性形象审美风尚的变化，而“绣罗翠微”板块展示了古代女性丰富多样的发式、妆容、首饰、衣着，呈现出历代女性的多样美。

独立仕女图（局部）　清　沈史

美丽是古代女性不懈的追求，加上“为悦己者容”思维的推波助澜，整装修容、追求外貌的姣好，遂变成古代女性生活中的重要环节。女性梳妆的过程具有隐秘性和私密性，而古代绘画中有不少描绘女性梳妆打扮的题材，为我们窥视古代女性梳妆的闺中之秘提供了途径。绘画中展现的女性往往都经过精心的梳妆打扮，佩戴精致的饰品，身着多彩的衣物，焕发令人沉醉的风采。诸多的女性梳妆图除了展现闺阁女性梳妆打扮的美好姿态、顾影自怜的忧愁，也带有照镜反思、端整仪容和品德的教化意义。从湖南长沙的战国帛画、山西太原张肃俗墓的北齐陶俑、南京晋墓的女陶俑、唐代永泰公主墓壁画、安康白家梁的宋代捧物女俑、西安的元女俑、内蒙古赤峰元代壁画、明清两代仕女画中的历代女性形象可以看出，虽然这些文物表现的多是理想化、虚构的美貌女子，但是每一幅都是在风云际会中、由各种社会文化因素合力促成的。

尽管这些女性形象在风格、技法、情节设置乃至人物的选择上，都不尽取决于创作者的个性，所有详细罗列起来却几乎可以编撰成一部“美人史”。在一部辉煌宏大的历史背后，掩埋着一代代女性名不见经传的坎坷人生。这时，观看美人图像的意义将不再只囿于视觉，“城头变幻大王旗”或许也可以在小女子的一颦一笑和衣袖的褶皱里面找到蛛丝马迹。正如蔡琴所说：“同一样东西，不同时代反复出现，人们对它的态度也不尽相同。一幅幅精美的图卷，不仅打开了了解中国古代女性生活状态与内心情感世界的大门，通过图像的变迁，还折射出各个时期的历史、文化、思想和意识形态的特点及其演变轨迹。”

玉洞仙株图　清　恽冰

古代讲求“男主外女主内”，从室内的闺阁天地到户外的园林山川，相比于男性活跃的社会公众空间的广阔、宏观，女性日常生活的闺阁空间则充满局限、微观、宁静平淡、波澜不惊与循规蹈矩。在“云幕椒房”中，作品里出现的重帘、帐幔，既是女性生活空间上的隔离和封闭，也是情感天性上的压抑和束缚。此外，作品中还体现对“内”的多层解释——社会阶层之间的分界更为本质，士大夫阶层的女性在很多方面是利益和特权的共享者，相较于不同阶层之间的“墙”，同一阶层女性空间的界分，既不是“墙”的意象，也不是“屏”的意象，而是“帘”的意象：既表明了界限，也暗示了连通；并非不可穿越，但又确然存在。

中国古代留有许多才女的名字，有的精通琴棋书画，有的精通女红劳动，在此之余，侠义、风雅的精神品格也备受瞩目。尽管在以男权社会为纲的社会里，女性在文学艺术上的影响力十分有限，然而当她们以群体的面貌出现在艺坛的时候，创作之风的兴盛便受到社会关注。本次展览以动画的形式对重点作品《十三女子请业图卷》进行展示，该画描绘了清代杭州人袁枚在西湖宝石山庄授业的雅集盛会，画中的每位闺秀都凭借才情留下了自己的姓名，观众可以通过动画逐一认识画中的人物。尽管展览的主题为“中国古代女性图像”，但展览还特别设置了当代女性艺术家空间，展出施慧、潘汶汛、刘禹君这3位不同年龄段女性艺术家的作品，以进行一场古典与当代、画里与画外、个人与群体的对话。古今呼应，展现“丽人”们的才思。

The banner of the picture of plum blossom Ladies & ldquo; The weather is new on March 3. There are many beautiful people by the water in Chang'an. The state is thick, the meaning is far, fair and true, the texture is fine, and the bones and flesh are even& rdquo; This is Du Fu's description & ldquo; Beauty & rdquo; The scene when traveling. With the recent & ldquo; Beauty & mdash& mdash; Chinese Ancient Female Image Exhibition & rdquo; Held in the West Lake Art Museum of Zhejiang Provincial Museum, ancient & ldquo; Beauty & rdquo; All kinds of life and life beyond the works are presented to the audience. The exhibition is hosted by Zhejiang Provincial Museum and co organized by Anhui Museum, Jiangxi Provincial Museum, Suzhou Museum and Huzhou Museum. Among the more than 160 pieces (groups) of exhibits on display, it covers 75 selected paintings on ancient women's themes in the collection that fit the connotation of each section, and more than 80 pieces (groups) of ancient women's jewelry, clothing, daily necessities and other objects related to the picture content, including porcelain, gold and silver ware Bronze, lacquer, silk and other categories. The exhibition also introduces some works of contemporary female artists, echoing & ldquo; Beauty & rdquo; The theme of& ldquo; Boudoir & rdquo& ldquo; Pepper room & rdquo& ldquo; Courtyard & rdquo; They are three words closely related to the life of ancient women, which reminds people of scenes in literary classics such as the romance of the west chamber and a dream of Red Mansions& ldquo; Female theme painting has a very long history in China. During the Warring States period, a female image appeared in the silk painting figure of dragon and Phoenix. In the Wei, Jin, northern and Southern Dynasties, the female images depicted were mainly virtuous women and fairies in myths and legends, such as the picture of women's history, the picture of Luo God's Fu and the picture of women's benevolence and wisdom. Zhou Fang's painting of beautiful women with hairpin flowers and Zhang Xuan's painting of smashing practice show the gorgeous beauty of noble women in the prosperous era of the Tang Dynasty. During the Five Dynasties, Song Dynasty and Yuan Dynasty, the range of subjects depicting secular women was expanded. For example, the women in the spinning wheel picture by Wang Juzheng, a painter in the Northern Song Dynasty, were only the most ordinary peasant women in life. There are countless paintings of ladies in the Ming and Qing Dynasties. Many of the popular long scrolls and sets of paintings are dedicated to depicting women's life& rdquo; Cai Qin, deputy curator of Zhejiang Provincial Museum and curator of the exhibition, said. The exhibition is & ldquo; Boudoir Charm & rdquo& ldquo; Cloud curtain pepper room & rdquo& ldquo; Courtyard spring depth & rdquo; Three units, from the outside to the inside, gradually approached the world of ancient women& ldquo; Boudoir Charm & rdquo; Focus on the external image of ancient women. & ldquo; Strong state and far meaning & rdquo; The section discusses the changes in the aesthetic fashion of female images in different times under the action of various social and cultural factors, and & ldquo; Embroidered Luo Cuiwei & rdquo; The plate shows the rich and diverse hair styles, makeup, jewelry and clothes of ancient women, showing the diverse beauty of women of all dynasties. Independent Ladies (part) beauty in the history of Qing and Shen dynasties is the unremitting pursuit of ancient women, plus & ldquo; For those who please themselves & rdquo; With the help of thinking, dressing up and pursuing good appearance have become an important part of ancient women's life. The process of women's dressing up is secretive and private, and many themes depicting women's dressing up in ancient paintings provide a way for us to peep into the secret of ancient women's dressing up. The women shown in the painting are often carefully dressed up, wearing exquisite accessories and colorful clothes, glowing with intoxicating style. Many women's dressing pictures not only show the beautiful posture of women's dressing in the boudoir and the sadness of self pity, but also have the educational significance of mirror reflection, grooming and morality. From the silk paintings of the Warring States period in Changsha, Hunan, the terracotta figures of the Northern Qi Dynasty in zhangsusu tomb in Taiyuan, Shanxi, the female terracotta figures of the Jin tomb in Nanjing, the murals of the tomb of Princess Yongtai in the Tang Dynasty, the female terracotta figures of the Song Dynasty in baijialiang, Ankang, the female terracotta figures of the Yuan Dynasty in Xi'an, the murals of the Yuan Dynasty in Chifeng, Inner Mongolia, and the female paintings of the Ming and Qing Dynasties, it can be seen that although most of these cultural relics show idealized and fictional beautiful women, each one is in the context of the times It is caused by various social and cultural factors. Although the style, techniques, plot setting and even the choice of characters of these female images do not all depend on the personality of the creator, all of them can be compiled into a & ldquo; History of Beauty & rdquo;. Behind a glorious and grand history, there are generations of women's unknown rough lives. At this time, the meaning of watching beauty images will no longer be limited to vision, & ldquo; The changing King's flag at the head of the city & rdquo; Perhaps you can also find clues in the little woman's frowns and smiles and the folds of her sleeves. As Cai Qin said, & ldquo; The same thing appears repeatedly in different times, and people have different attitudes towards it. The exquisite pictures not only open the door to understand the life state and inner emotional world of ancient Chinese women, but also reflect the characteristics and evolution of history, culture, thought and ideology in various periods through the changes of images& rdquo; Jade cave immortal plant figure Qing Yun Bing ancient emphasis & ldquo; Men are in charge of the outside and women are in charge of the inside;, From the indoor boudoir world to the outdoor garden mountains and rivers, compared with the broad and macro public space of men's active society, the boudoir space of women's daily life is full of limitations, micro, quiet and plain, calm and orderly. In & ldquo; Cloud curtain pepper room & rdquo; The heavy curtains and curtains in the works are not only the isolation and closure of women's living space, but also the repression and restraint of emotional nature. In addition, the work also reflects the understanding of & ldquo; Internal & rdquo; Multi layer interpretation of & mdash& mdash; The demarcation between social classes is more essential. Women in the literati and officialdom class are the sharers of interests and privileges in many aspects, compared with the & ldquo; Wall & rdquo;, The division of women's space in the same class is neither & ldquo; Wall &; Neither is the image; Screen & rdquo; It's not an image, but & ldquo; Curtain & rdquo; The image of: not only indicates the boundary, but also implies the connection; It is not impossible to cross, but it does exist. There are many names of talented women in ancient China. Some are proficient in piano, chess, calligraphy and painting, and some are proficient in needlework work. In addition, the spiritual character of chivalry and elegance has also attracted much attention. Although women's influence in literature and art is very limited in the society based on the patriarchal society, when they appear in the art world as a group, the prosperity of creative style has attracted social attention. The exhibition shows the key work "thirteen women's employment application scroll" in the form of animation. The painting depicts the grand gathering of Yuan Mei, a Hangzhou native in the Qing Dynasty, who taught in West Lake gem villa. Each girl in the painting left her name with her talent. The audience can know the characters in the painting one by one through the moving painting. Although the theme of the exhibition is &; Images of ancient Chinese women;, However, the exhibition also specially set up a space for contemporary female artists to display the works of three female artists of different ages, Shi Hui, pan Wenxun and Liu Yujun, in order to have a dialogue between classical and contemporary, inside and outside, and between individuals and groups. Echo the past and present, show & ldquo; Beauty & rdquo; Our talents.