晚清女学的视觉呈现--以天津画报为中心的考察

The Visual Presentation of Late Qing Women's Schools:Centered on Several Pictorials in Tianjin

自1844年第一所女学成立后,中国女学逐渐成为一个场域,其中,既展示了中西方权力的较量,亦呈现出中国男性知识人对自身力量边缘化的焦虑,以及中国传统女性文化在近代社会中所面临的挑战。晚清画报成为展现女学这一场域及其中各种力量较量的主要视觉媒介之一。本文拟以晚清时期天津的几份画报为例,探讨近代女学视觉展现的议题。从艺术表现形式来看,画者往往在图像内绘制观者,以引导阅读者迅速将视线投向图像中心,达到读图之效果。而且,观者对于女学的凝视,不仅限于男性对女性的性别凝视,也有社会阶层和身份认同的差异,甚或也会成为中外权力关系的表现方式。同时,画者也经常以细腻的笔触,有意识地在二维图像内,勾勒出一个"内外有别"的空间,使得近代女学和传统社会性别规范仍然有着千丝万缕的联系。

After the first women's school was founded in 1844,women's schools gradually developed into an educational field in China.This phenomenon not only reveals the contention between China and the Western powers,but also displays the anxiety of Chinese male intellectuals over the marginalization of their own status,and the challenges that traditional women's culture faced in modern society.In the late Qing,pictorials became one of the major forms of visual media presenting the field of women's schools and the contention between the various forces within that field.Taking several kinds of pictorials published in late Qing Tianjin as examples,this article researches the visual presentation of modern women's schools.From the perspective of artistic expression,illustrators usually depicted spectators in their pictures in order to quickly draw in readers and lead their eyes to the center of the image for effective interpretation.Moreover,viewers looked at women's schools with many gazes,not just the gendered gaze of male on female,but also gazes differentiated by social class and identity.Sometimes they even became expressions of the power relations between China and foreign countries.At the same time,illustrators often consciously and delicately sketched spaces that differentiated between interior and exterior,drawing connections between the modern women's schools and the gender norms of traditional society.