| Abstract: | 本研究以薛紹徽題畫詩詞為探討中心，呈現其題畫詩詞對創作主體生命情感經驗的反映及與時代社會的互動，並於晚清時代背景下展開對薛紹徽生命史的觀照。晚清閨秀薛紹徽直面時局振蕩下的國家創傷、中西碰撞中的時代變奏，在個體與時代的共振中展現出豐富的生命經驗，其詩畫題詠在自我呈現、情感表達、時代反饋、女性觀看、繪畫品鑒等面相開展出更多價值意義。
薛紹徽「自題自畫」與「題夫畫」既是形塑自我、書寫情感體驗、記錄生活圖景、抒發情志的表達方式，也將清代女性題畫書寫從閨閣情感、自我實現拓展至國家關懷、時代精神。「自題自畫」呈現了薛紹徽自矜畫藝、好學慎思的才女形象，以及剛柔並濟的「賢婦」、勤慎安貧的「貧婦」、淡泊恬退的「萊婦」等妻子形象。「題夫畫」則「以意尋意」對陳壽彭畫作中展現的情志追求給予回應，在展現夫婦二人志趣相投、精神契合的同時，將「妻子形象」升華為「知己形象」。夫婦二人以詩畫互題為呈現方式的互動，伴隨著陳壽彭出海留洋足跡的空間延拓，反映了國勢衰微下洋務運動（1861-1895）派遣留學生出洋學習西方語言、律令、科技的變革自強，中法戰爭（1883-1885）中不敗而敗、船政中人的悲憤沉鬱，近代事變中日本蠶食琉球的國家創傷，以及彼時士大夫階層尚未消解的「胡天」「樓蘭」之中國中心主義歐洲想象，夷夏之辨的知識視野與敘述架構。
薛紹徽「題才媛畫」基於女性觀看，將自身的生命情感經驗和社會性別角色觸發的自憐與憐才之心，投射至對才媛畫家的觀看/品評。薛紹徽對才媛畫者閨閣編輯、課子授經、繪畫創作等女性生命經驗的傳承，以及藉由「題才媛畫」對閨閣典範的建構，呈現明清女性「婦德」「才學」相映成輝的生命姿態。薛紹徽在戊戌時期的上海女學運動中，打破「內言外言之戒」，參與社會公共事務，致力新女學的論述與重塑。她在陳壽彭的協助下編譯《外國列女傳》，立足婦女自身需要，參詳中西經驗，確立以「慈」、「學」為核心的女學價值體系，從道德、才藝兩方面為婦女開拓自立空間。對於力求從才藝和道德兩方面建構閨閣典範的薛紹徽來說，陳書課子成就及其畫作的鑒藏流傳、「夜紡授經」的母教婦德與「宸翰褒嘉」的繪畫才藝，管道昇賢妻慈母的道德典範、翰墨丹青的才藝坐標，都因合乎她以「慈」與「學」為主體價值的女學觀，成為其「題才媛畫」形塑的閨閣典範。
薛紹徽「題末代/易代畫作」基於其個人生命際遇、情感經驗、精神志趣、文化/政治態度，從「隱逸之志」、「失路之悲」、「亂離之殤」、「遺民之節」四個主題，建構起她與末代/易代文人才媛之間「觀者—畫者」、「詩詞文本—圖畫文本」的複調書寫。無論是藉由水墨山水的圖畫觀看與倪瓚「扁舟飄然於五湖三泖間」的生命經驗進行對話，通過「五湖三泖」社會意涵所承載的文化追求、文化語境和社會意涵，在題畫「複調」的多重對話中與「五湖三泖」的追尋者們共同結構出「五湖三泖」的隱逸空間；還是在「觀看—題詠」任熊〈自畫像〉時所形構的「複調」書寫的多重對話；乃至對楊龍友、吳梅村、王端淑等末代/易代文人才媛亂離生命經驗的再現，和她自身的末代生命經驗一起，構成「亂離」主題下題畫「複調」書寫的多重聲部，都在「題畫文本—畫作—題畫文本」的一次次對話中，不斷開展畫作意義與文本內涵，結構出同一圖畫藝術空間下跨時代的文學語境與文化意涵。薛紹徽在觀看末代/易代文人畫作的過程中留下自我的聲音，成為末代/易代生命經驗、文化記憶的又一旋律/聲部，與末代/易代文人的詩畫題詠一起，結構出異代同題的文本複調，展現末代/易代文化群體的悲憫與共情（Empathy）。而薛紹徽題畫詩對「遺民之節」的一再著墨，之於觀者薛紹徽的個人意義與晚清社會的時代意義，外現於其在西學東漸、新舊賡續中對傳統儒學女學的反思和堅守，亦側面反映了甲午戰爭慘敗後儒家倫理道德、傳統才女文化在歷史賡續中面臨的時代困境。
薛紹徽在謝赫「六法」論、荊浩「六要」說以及張彥遠、郭若虛等畫學者的理論基礎上發展、凝練出她個人關於立意、章法、筆墨等的繪畫創作理論。薛紹徽提出「六法真傳在守雌」的才媛繪畫創作理論，為閨秀善畫、妙傳六法提供哲學詮釋與理論溯源，嘗試尋求才媛繪畫在正統畫史（尤其花鳥畫史）上的地位。她取法「貴柔守雌」、「道法自然」、「弱者道之用」的道家思想，闡釋才媛繪畫的「守雌之道」：女性柔弱的性別特質，是為「天心」/「天性」，也就是自然之道，作畫發乎「天心」/「天性」，順其「自然」，即為持柔弱之「道」。
盛清時期盛極一時的才女文學傳統與閨秀詩畫題詠，在晚清女學運動的維新思潮與實踐中，伴隨著西學的衝擊而漸趨式微、面臨解構。在此時代大勢下，無論是對王端淑等前輩才媛閨閣編輯事業的繼承與接力，或是藉由「題才媛畫」所建構的以王端淑、陳書、管仲姬為代表的的閨閣才德典範，亦或是在繪畫品論中位閨秀善畫、妙傳六法尋找哲學詮釋與理論溯源，都是薛紹徽在晚近文化轉型期為應對時代變革而進行的文化堅持。她致力於重塑女學價值，建構閨閣典範，留存閨閣文獻，書寫女性文學傳統，拓展女性話語空間，實現女性自我價值，呈現出於強大外力束縛下、有限外界環境中有所持守、自我實現的主體品質與生命姿態。;This study focuses on Xue Shaohui′s poems for paintings, presenting their reflection of the subject′s life and emotional experience and their interaction with the society of the time, and presents a view of Xue Shaohui′s biography in the context of the late Qing dynasty. Xue Shaohui′s poems for paintings are a rich reflection of her life experiences in the context of the late Qing dynasty, as she faces the trauma of the country in the turbulent times and the changes of the times in the clash between East and West.
Xue Shaohui′s poems for self-paintings and her husband′s paintings are a way of expressing herself, her emotional experiences, her life, and her sentiments. They also expand the scope of Qing dynasty women′s painting and calligraphy from the emotions of their chambers and self-realisation to the concerns of the nation and the spirit of the times. The poems for self-paintings present the image of Xue Shaohui as a talented woman who is self-respecting, studious and deliberate, as well as the image of a ′wise woman′, a ′poor woman′ who is diligent and careful, and a ′woman of leisure′ who is indifferent and retiring. The poems for her husband′s paintings respond to Chen Shoupeng′s pursuit of love and spirituality, and they are an expression of their mutual interest and spirituality, elevating the image of a wife to that of a confidante. The interaction between the couple′s poetry and painting is accompanied by the spatial expansion of Chen Shoupeng′s footprints at sea and abroad, reflecting the reform and self-improvement of the foreign affairs movement (1861-1895), which sent students abroad to learn Western languages, laws and technology, the defeat of the China-French War (1883-1885), the grief and anger of the shipowners, the national trauma of the Japanese erosion of the Ryukyus in the modern era, and the sorrow of the scholars. The story of the war between China and France (1883-1885), the sorrow and anguish of the people in the shipbuilding administration, the Japanese erosion of Ryukyu in the modern era, the trauma of the country, and the Chinese centrist European imaginary of "Hu Tian" and "Loulan" that had not yet been dissolved by the scholarly class, and the intellectual vision and narrative framework of the discernment between Yi and Xia.
Based on a female perspective, Xue Shaohui′s poems for Talented Lady′s paintings project her own emotional experience and her gender role in society, which triggers her self-pity and pity for her talent, onto the viewing/evaluation of the artist. Xue Shaohui′s inheritance of women′s life experiences such as editing in the boudoir, teaching sons and scriptures, and creating paintings, as well as the construction of the boudoir model through the poems for Talented Lady′s paintings, present the life gestures of ′women′s virtue′ and ′talent′ as a reflection of each other in the Ming and Qing dynasties. In the Shanghai Women′s Studies Movement of the Hundred Days, Xue Shaohui broke the precept of ′internal speech and external speech′ and became involved in public affairs, devoting herself to the discourse and reinvention of a new women′s studies. With the assistance of Chen Shoupeng, she compiled a biography of foreign women, based on the needs of women themselves and taking into account the experiences of the East and the West, to establish a system of women′s studies with ′charity′ and ′learning′ as the core values, and to open up space for women to stand on their own feet in terms of morality and talent. For Xue Shaohui, who sought to construct a model for the boudoir in terms of both talent and morality, Chen Shu′s achievements in teaching her children and the preservation of her paintings, her maternal virtue of "teaching the scriptures at night" and her painting talent, as well as her moral example of a wise wife and loving mother and her talent in ink and painting, are all in line with her view of women′s studies in which "mercy" and "learning" are the main values, and have become the model for the boudoir shaped by her "inscriptions of talent and paintings".
Based on her personal life experiences, emotional experiences, spiritual aspirations and cultural/political attitudes, Xue Shaohui′s poems for the paintings of Late Dynasty are based on the four themes of ′Hermit′s Ambition′, ′Sorrow for Lost Ways′, ′Mourning for Disruptions′ and ′The Festivity of the Remnant′, and builds up a polyphonic relationship between her and the literati of the Late Dynasty: ′Viewer - Painter′, ′Poetic Text - Pictorial Text′. The four themes of "The Viewers - The Painters" and "Poetic Texts - Pictorial Texts" have been established as a Polytonality. The dialogue between the artist and Ni Zhan′s life experience of "Wu Hu San Mao", and the cultural pursuit, cultural context and social connotation of the social connotation of "Wu Hu San Mao", is structured in the multiple dialogues of the title and painting.
Xue Shaohui developed and refined her own theories on the creation of paintings based on the theories of Xie He′s ′Six Methods′, Jing Hao′s ′Six Essentials′ and the theories of painters such as Zhang Yangyuan and Guo Ruoxu. Xue Shaohui′s theory of Talented Lady′s painting, ′The Six Methods are transmitted in the true sense of the word′, provides a philosophical interpretation and theoretical tracing of Talented Lady′s good painting and the subtle transmission of the Six Methods, in an attempt to find a place for Talented Lady′s painting in the history of orthodox painting (especially in the history of flower and bird painting).
The literary tradition of talented women and the poetry and paintings of boudoir girls, which had flourished during the Qing dynasty, gradually declined and faced disintegration in the wake of the Western influence on the modernisation of women′s studies. In the midst of this era, Xue Shaohui′s cultural perseverance in response to the changes of the times, whether it be the inheritance and succession of the editorial work of the previous generation of talented women such as Wang Duanshu, or the construction of a paradigm of the talented women of the boudoir represented by Wang Duanshu, Chen Shu and Guan Zhongyi through the ′inscriptions on the paintings of the talented women′, or the search for philosophical interpretations and theoretical traces of the good paintings of the boudoir and the subtle transmission of the six methods in painting theory, are all part of Xue Shaohui′s cultural perseverance in response to the changes of the times during the late cultural transformation. She is committed to reshaping the values of women′s studies, constructing a model of the boudoir, preserving its literature, writing about the tradition of women′s literature, expanding the space for women′s discourse, and realising women′s self-worth, presenting the quality of the subject and the attitude of self-fulfilment in a limited external environment under the constraints of strong external forces. |
