《女孝经图》卷，宋，绢本，设色，纵43.8cm，横823.7cm。
无作者款印。钤清“曹溶秘玩”及清乾隆、嘉庆、宣统内府收藏印，共10方。
作者以图解的形式分9段表现唐代邓氏《女孝经》前九章的内容，依次为：一、开宗明义章，二、后妃章，三、三才章，四、贤明章，五、事舅姑章，六、邦君章，七、夫人章，八、孝治章，九、庶人章。每段图后均有墨题《女孝经》原文与之对应。
图中人物的衣纹为铁线描，线条匀细，富有弹性，在准确地勾画出人物的行为动态的同时，亦展示出自身的精练并具轻重急缓的节奏美。树叶为笔法工整的双勾填色，枝叶相互叠加，既有层次感又不失之于琐碎，显示出作者细致的观察能力与写实功力。画面以深棕色为主调，配以白、墨绿、青灰等冷色调，使得画面于高古典雅中见清新活泼，于深沉凝重的氛围中具浪漫的人间风情。
中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。
此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。
此图旧传为唐人画作，但据其谨细缜密的画风和图中所陈设的器物的造型、装饰等，当出自南宋画院画家之手笔。
清内府《石渠宝笈初编》著录。
--------Introduction in English--------
"Nuxiao Jingtu" Volume, Song Dynasty, Silk Text, Colouring, 43.8 cm in length, 823.7 cm in horizontal.
No auhor's seal. Junqing "Cao Rong Secret Play" and Qing Qianlong, Jiaqing, Xuantong Neifu Collection Seals, a total of 10 parties.
The author expresses the contents of the first nine chapters of the Tang Dynasty's Nv Xiao Jing in the form of illustrations in nine sections, which are as follows: first, Kaizong Ming Yizhang, second, empress imperial concubine Zhang, third, third, fourth, Xianming Zhang, fifth, uncle and aunt Zhang, sixth, Bangjun Zhang, seventh, madam Zhang, eighth, Xiaozhi Zhang, ninth and common people's chapter. Each paragraph is followed by the original version of the Ink Title "The Sutra of Female Filial Piety".
The figure's clothing pattern is iron line drawing, the line is even and fine, full of elasticity. While accurately depicting the character's behavior dynamics, it also shows its own concise and rhythmic beauty of importance and urgency. Leaves are neatly crafted and double-crossed. The branches and leaves overlap with each other. They are both layered and trivial, showing the author's meticulous observation ability and realistic ability. The main tone of the picture is dark brown, with white, dark green, grey and other cold tones, which makes the picture fresh and lively in the elegant classical, and romantic in the deep and solemn atmosphere.
One of the creative purposes of Chinese figure painting is to emphasize the political enlightenment function of painting. Zhang Yanyuan of the Tang Dynasty clearly pointed out in his Records of Famous Paintings of All Dynasties that "painters, educated adults, helpful to human relations, poor gods, change their minds, measure their secrets, do the same work with the six books, and they are also lucky in four seasons". The earliest existing works to propagate the doctrine of women's virtue and precepts in the form of picture scrolls should be Gu Kaizhi's (biography) Women's History Pictures and Women's Benevolence and Wisdom Pictures in the Eastern Jin Dynasty. As a subject matter of painting, The Book of Female Filial Piety was carefully created by the painter Shi Ke as early as the reign of Meng Zhao, the emperor of Hou Shu in the Five Dynasties. According to Xuanhe Painting Spectrum compiled by Fengwen of the Inner Court of the Song Dynasty, Shi Lu drew only eight pictures according to the contents of Nuxiao Jing, but unfortunately his works did not survive in the world. This painting, created by a famous painter in the Southern Song Dynasty, has become the best preserved and earliest representative work reflecting the content of the Sutra of Female Filial Piety.
With its high artistic attainments, this scroll shows the world the mature style of the Song Dynasty's paintings of ladies and ladies. Each picture forms its own independent picture according to the different content of expression. At the same time, the author makes use of the figure's shape, costume and unified form of pen and ink to make the pictures relatively independent and interrelated, so as to achieve the artistic effect of scattering and gathering. The focus of this volume is on women in groups of three or five. They hold high buns and decorate hairpin flowers. Their faces are long and plump. They still have the features of the Tang Dynasty's paintings of women. However, there is no body of the Tang Dynasty's bloated and fat ladies, which shows the trend of transition to the Ming and Qing Dynasties'paintings of women with slender and beautiful shapes. Their curvilinear figure is fully expressed by the author, with slender waist and slender hands, graceful and graceful. Characters are graceful and graceful in manner, dignified and quiet, and behave in a manner that is also well-behaved, thus vividly interpreting the motherhood, wisdom, benevolence and other feudal women must abide by the code of words and deeds. The author is very successful in dealing with the relationship between the characters and the environment. Although the number of trees and leaves interspersed in the characters is not large, as the backdrop of the characters'activities, the natural environment is calm and tranquil, which enriches the space of the characters' activities and adds interest to the pictures used for preaching. The virtuous women and martyrs who have good virtues talk about Confucianism and Taoism under the trees or are diligent in Nuhong, which adds some sublime interest to this tranquil situation.
This picture was handed down as a painting of the Tang Dynasty, but according to its meticulous style of painting and the shape and decoration of the objects displayed in it, it came from the painter's pen of the Southern Song Academy of Painting.
The Preliminary Edition of Shiqu Baotu by Neifu in Qing Dynasty.
