性別的銘記與操弄是一個基本而普遍的文化結構。在不同文化世代 中，女性一一身體往往是不同意識形態交相指涉的文化操演空間。本文 以《唐詩畫譜》中女性意象版圓的文化展演為論述主軸，探討晚明新型 消費社會下， {唐詩畫譜》女性意象版圖作為禮教/情教、雅/俗相互 指涉、辯證的文化演練空間，男性論述主體如何建構以性別差異作為慾 望、權力的論述?在詩畫轉喻、互典的視覺藝術中，女性如何被塑造成 帶著慾念的男性觀視之物?詩畫轉喻、互典的視覺意象與性別論述如何 展現男性權力/父權體系的文化主宰結構?在晚明社會層級逐漸鬆 動，及文化消費的運作機制與道德/慾望移位的文化氛圍中，女性意象 版圖又如何逸離、擺盪於父權體制外而展演出女性一一身體一一慾望之 多元流動的變貌?一場跨越理/情、雅/俗文化範域的性別革命實踐， 又是如何展演於詩/畫轉喻、互典的女性一一身體空間疆界中?全文分 從禮教圖式與託喻美學、風月空間與情慾隱喻、觀視行為與欲力迴路、 消閒空間與姐妹情誼四方面論述《唐詩畫譜》中女性一一身體空間疆界 滑移、越界所開歐性別、慾望、階級多重存在的流動認同的可能性。

The symbol of gender and its manipulation is a basic and common cultural structure. In the different cultural era, female and body usually are the space where different consciences are mixed. This paper focuses on the cultural development of the female symbolism in the Tang Poem's picture collection, and discusses its cultural meaning used and argued by rite/emotion, elegance/lowness in the new consumers'society of late Ming Dynasty. In the visual art using the analogy between poems and pictures, how would female have been modeled into an object containing male desire? How was the male power/the system of fatherhood demonstrated by the visual symbol and gender argument? In the late Ming Dynasty, under the gradually loosing social hierarchy, mechanism of cultural consumption, and cultural atmosphere of dislocated ethics/desire, how would the female symbolism derail and waver out of the system of fatherhood and develop an diversified face containing the concepts of female, body and desire. How was a gender revolution, crossing the cultural boundary of sense/sensibility and elegance/lowness, developed in the female/body's boundary of space of the analogy between poems/picture? This paper was divided into the four areas - (1) the pictorial examples of rites and analogy of esthetics (2) romantic space and analogical desire (3) behavior and desirous loop (4) the space of pastime and · sisterhood - to discuss the possibility of agreement in co-existing gender, desire and hierarchy caused by the movement of the boundary of female/body.