摘要
汉至宋代孝子故事及图像都发生了变化,由此可洞见社会性别观念的嬗变,唐宋是一系列变化的关键点。闵子骞行孝图由故事的前半段变为后半段,更强调父不慈皆因后母狠毒;丁兰妻由孝行的无关者、助祭者变为破坏者;说明后世更突出女性对父家长制的祸害。闵子骞行孝图中父怒母泣及休妻的场景,丁兰行孝图中畏缩的妻子,都说明宋士大夫压制妻子的主张得到社会的广泛接受。而有关后母的孝行故事又显示出伦理的复杂性,它并未完全依照男尊女卑的社会性别观念。
We can see the changes of gender concepts in the stories and drawings of filial piety from Han to Song Dynasty.Such change was remarkable during the Tang and Song dynasties.From the changes of the drawing of Min Ziqian,the focus was on the view that an atrocious father is the result of an evil step mother.And the change of drawing of Ding Lan indicated that the female was the destroyer of patriarchism.The gentry in Song dynasty promoted the view that the wife should be depressed And Both drawings reflected the social acceptance of such view.The stories of filial step mothers indicated a complex morality,which was not completely based on the traditional ethics that men are superior to women.
出处
《都市文化研究》
2020年第1期102-121,共20页
Urban Cultural Studies
基金
国家社会科学基金项目“基于图像史料的宋代女性文化研究”(编号17BZS042)成果
关键词
宋辽金
行孝图
闵子骞
丁兰
二十四孝
dynsties of Liao Song Jing
drawing of filial piety
Min Ziqian
Ding Lan
Twenty four stories of filial piety
作者简介
程郁,上海师范大学人文学院教授。
