晚明是中國女教思潮蓬勃發展的時期，本文所討論到的晚明女教「書籍」的「插圖本」，約有六種書籍刊本，包括：《新刊古列女傳》、《古今列女傳評林》《劉向古列女傳》、《繪圖列女傳》、《閨範》、《女範編》。 本文第一章內容先從晚明女教書籍插圖本的編輯背景著手，除將插圖本之各種圖像刊本的基本資料統整外，更強調晚明畫工對圖像刊本之構圖空間分布的重新營造，由於晚明插圖本編輯特色，在於表現出對「古類型」的重新詮釋及對「今類型」的極力開拓，且又在「今類型」領域中，不斷努力去塑造符合流行時尚的「女性新形象」；並從「今類型」中，選取部分「女性形象」結合「兒童形象」成為「婦幼形象」，作為標榜女性貞烈價值觀的終極目標。因此，針對晚明插圖本中「女性新形象」與「婦幼形象」，兩大較為受到注目的焦點進行深入探討與分析，成為本文第二章及第三章的主要內容。 「插圖本」有三個相當不同於傳統的顯著特色，包括：第一、男女雙方也因性別的不同，對圖像與文本之間也有著極大差距性之「解讀」與「觀看」和個別價值意義之追求。第二、在刊本的再製造過程及圖像再現中，對女性形象的塑造是極其刻意地朝「視覺化」方向發展。第三、兒童形象的「被觀看」位置，隨著對婦女圖像需求的功能與目的之不同，而大量移轉至「貞烈」位置，且還同時揉合了感官性。 Late Ming dynasty is the vigorous period of the trend of thought in Chinese women education. The illustrated book discussed in the essay about this issue included 6 editions of books, which are “New Cu lienu zhuan”, “Gu jin lienu zhuan pin ling”, “Lin xiang cu lienu zhuan”, “ Huitu lienuzhuan ”, “Gui fan ” and “Nu fan pen ”. Chapter 1 initiated from the background of editing the illustrated book. Besides integrating basic data of each kind of illustrated books, it greatly emphasized that the drawer at that time created a composition of space allocated toward illustrated books. The feature of editing the illustrated book was based on the re-defining so-called Cu-type ones, and exploiting so-called Jin-type ones. In the field of the latter it exerted constantly to carve the fashion of new image of women, which assembled with children into the image of women and children. The finally destination is to boast the value of female chastity. Therefore these two more focusing points, new image of women and the image of women and children, in the illustrated books as of Late Ming dynasty would be immensely discussed and analyzed. on Chapter 2 and Chapter 3. There were three different features for the illustrated books as compared with tradition: First of all, the great difference existed between different sexes for their understanding and visualizing the picture and the article, and the pursuit of the meaning of respective value. Secondly, the carving image of women deliberately took the trend of visualization in the reproduction process of books and the presentation of the pictures. Thirdly, the image of children in the position of being observed shifted into the position of chastity , combining with the sensitivity at the same time, as the function and destination of the demand of women’s pictures varied.
