杜丽娘“写真”与女性的自我呈现

Du Li-niang's Self-Portrait and Women's Self-Expression

写真是我国古代绘画艺术中的重要类别,在不具备摄影技术的时代,写真能对人物进行传神写照,具有个性呈现的功能,特别是对封建时代的女性来说,写真是她们自我呈现的重要途径,同时还具有表达情感的作用。而在古代的很多戏曲作品中,写真传情成为剧情构建的重要环节,汤显祖的《牡丹亭.写真》一出真实地再现了古代女性通过自我写真以呈现自我的努力。剧中的杜丽娘对爱情渴望是正常合理的人性要求,她在追寻爱情中表现了苦闷和焦虑,反映出一个少女在封建礼教束缚下的自我意识的觉醒和对自我价值的肯定,因此杜丽娘的对镜顾影、对镜写真的过程,是她企图用容貌和躯体向世界证明自己的过程,这副自画像反映了闺阁少女的自我意识的觉醒。这种自写肖像行为背后的微妙心理获得了后代很多《牡丹亭》的女性读者的理解和共鸣,那些具有浪漫情怀的青春女子都曾关注过剧中杜丽娘的自画像,甚至有人还刻意模仿,为自己在人世留下一副写真。

Portrait is one category of traditional paintings ; it can show the individuality of people before the invention of photography. Women＇s portrait also played the role of emotional expression. To express feelings by portrait is an important link in traditional Chinese opera. Du Li-niang＇s yearning for love is normal and reasonable request; it is consistent with the requirements of human nature. Young girls are in the pursuit of love in the performance of depression and anxiety. Although under the feudal ethics, it shows Du Li-niang＇s self-consciousness awakening and the affirmation of self-portrait demonstrates women＇s self- presentation clearly. The behavior of Du Li-niang＇s drawing herself reflected her desire to present herself to the society and her awakening as a young girl. It has aroused great response and has been imitated by many female readers. Reading is a process to meet the demand fro hearts, female readers discovered their own requests through Du Li-niang＇s self-portrait.