畫像是自我形塑的一部份。畫像所流傳的不只是人物的外形、神情，還包括精神內涵。《牡丹亭》中杜麗娘的「寫真」，代表女性自我意識的覺醒和自我的呈現，題在畫像上的詩句「近覩分明似儼然，遠觀自在若飛仙」也顯示出其對自我形象的塑造和認同。清代女性詞作中有不少自題畫像之作，她們在畫像構築的空間中建構並且重新形塑自我，無論是月榭尋詩，或是燈下課女，從一系列的女性自題畫像詞中，可以探索清代女性所隱藏的心理層面以及觀看/自我觀看、書寫/自我書寫的文化意涵。 The self-portrait is they expression of self-imaging. A portrait preserves not just the image and expressions but also the spirit of the person. For example, in “Mu Dan Ting (Pergola of Peony)”, the “portrait” of Du Li-Niang represents the “self” and the awakening of self-awareness for a woman. The poem, “Distinguished dignity upon a closer look; A soul at liberty when viewed from afar” reveals the image of “self” molded and identified by the author. Many self-depicting poems have also been found inscribed in the portraits of Qing Dynasty female writers. They reconstruct and reshape their own images in the domain of the portraits. Be it in “Searching for Poems in the Pavilion (Yue Xie Xun Shi, 月月月月)” or “Lesson under the Light (Deng Xia Ke Nu, 燈燈燈燈)”, from a series of poems inscribed in the portraits of female writers, we aim to explore the psychological dimensions of Qing Dynasty female writers and the cultural connotations in the viewing/self-viewing and depicting/self-depicting literature. 研究期間：10008 ~ 10107
