一個清代閨閣的視角――顧太清（1799－1877）畫像題詠析論

The Analysis of Inscriptions on Paintings–Viewpoints of Fair Lady Gu Tai-qing （顧太清）（1799-1877）, Qing Dynasty

畫像題詠，是跨越詩／畫的一種奇特文本。身為滿清皇眷的顧太清，所著《東海漁歌》、《天游閣詩集》等集收錄了許多畫像題詠文字：有的藉以憑弔早夭的少女、有的歌揚美麗的歌妓，更多為彈琴、尋梅、吹笛、簪花、絡緯、執薰籠、桐蔭下等美人圖而題。其中稱「小照」者，乃閨秀詩情畫意的寫照，顧氏為這些熟識的女友畫像題詠，充分表現了女性之間的情誼。顧氏的畫像題詠既可視為個人生命的縱深，亦可作為時代的剖面。本文以太清一生詩詞作品所呈現出來的生命經驗為背景，分由夫妻畫像、歌妓畫像、少女遺像、男性畫像、囑題畫像、雅會圖、閨閣畫像、刺繡圖等一系列題詠為論述主軸，貫串全文，各畫像子題分別涉及了畫面觀看、寫作心理、姊妹情誼、女性社群、文學傳播、文學聲譽、意識認同（包括：自我、性別、集體、國族、文化）……等諸多面向。筆者將以一個閨閣的視角為策略，鋪展太清的畫像題詠為詮釋線索，並向外延伸，進而探查清代時期與畫像相關的女性書寫與文化意涵。

The inscription on painting is a kind of unique text style that is beyond poetry and painting. The collection of Gu Tai-qing from the Qing Dynasty provides many examples. There are inscriptions praising girl who died early, beautiful geisha, close friend that all express the friendship between feminine. Based on the living experience described in her collection, the study aims to understand the feeling of the viewers, author's psychology, friendship between sisters, female groups, literature influence and its reputation and conscious identity from a series of paintings that related to couple, geisha, portrait of girl, male figure, portrait for inscription, gathering and embroidery. The viewpoints of a fair lady were taken as study strategy and it explained the relation between painting and inscription in order to explore the female writing style and its cultural meaning in the Qing Dynasty.