由漢代儒家學者劉向（前77–前6）開創的《列女傳》文體，其始便圖文並置。故本文所謂傳衍，便具圖文兩重意義，兩者均經歷了時間上的傳承與空間上的播延，其間因與不同時空語境的交纏互動，而有相應形式、載體、內涵等變遷。本文擬對劉向《列女傳》傳世兩千餘年間在東亞漢文化圈的傳衍過程，作一初步勾勒。首先概括漢唐之間、印刷術發明之前，《列女傳》圖像經由圍屏、壁畫、石刻和卷軸的形式流傳；次論宋明印刷術普及後，圖像如何進入《列女傳》木刻版本。而明代大量《列女傳》及仿作的刻印發行，又影響激發了朝鮮與日本仿作的出現。因卷帙浩繁，斷難求全，惟冀能就目前筆者所蒐集的有限資料，考察比勘，以期理解不同社會、政治、文化、經濟等語境對於婦女道德空間建構及其圖文表述所生影響。

The genre of the Biographies of Exemplary Women, initiated by the Han Confucian Scholar Liu Xiang （77–6 BCE）, consisted of the texts and illustrations from the very beginning. Thus, a study of its transmission and transformation in the Sinosphere requires examination of both. Throughout the two thousand years, this genre has gone through constant changes of forms, media, and connotations in its interactions with different spatial and temporal contexts. This article intends to summarize this process, first on its evolution through painting screens, murals, stone carvings, and hand scrolls from the Han to the Tang, and then its woodblock versions after the invention of the printing technique in the Song. The spread of the illustrated Ming editions of the Biographies of Exemplary Women into Korea and Japan further inspired its imitative works in these areas. Through a comparative study of excavated materials, this article expects to understand how the sociopolitical, cultural, and economic environments influenced the textual and imagery construction of women’s moral space in the Sinosphere.