朝鮮女訓書的歷史發展與視覺教化意涵

Abstract

本文分別就朝鮮前期與後期考察朝鮮時代女訓書的歷史發展及針對女性之視覺教化的情形，並試圖闡明其意義。從朝鮮前期到中期，乃至於近代初期，「教化」與「鑑戒」的定型是以圖像表現女性的主要前提之一。教化與鑑戒在將女性形象表現於圖像上發揮關鍵作用，其緊密的關聯性提醒吾人必須研究視覺圖像在以女性為教化對象時發揮的功能與意義。朝鮮時代女訓書以及針對女性之視覺教化，在朝鮮初期以王室主導的賢妃與身體犧牲型烈女形象為主；在此基礎上，朝鮮後期轉向以士大夫為主導，加入更多貼近日常生活的內容。朝鮮後期將日常生活中必須恪遵的規範，以日常生活中隨處可見的屏風形式呈現，這種視覺教化必須以婚後居住型態普遍由婦處制轉變為夫處制的夫家生活為前提。換言之，此一現象呈現了朝鮮後期父權家長制高度發展的一個指標。  This paper examines the historical development of Confucian Women’s classics[女訓書] in the Joseon Dynasty and the aspects of visual correction for women in the early and late Joseon periods, and explores their meaning. Enlightenment and sensation were one of the main premise of expressing women in paintings from Joseon Dynasty to mid-term through early modern times. Enlightenment and sensation were acting on the basis of allowing women to be settled as icons, and the closeness reminds us of the need to consider the role and meaning of visual image in enlightenment. In the early Joseon Dynasty, the Confucian Women’s classics and visual edification for women were mainly based on the statue of the Hyun-bi[賢妃] led by the royal family and a physically sacrificed female figure. In addition to this, in the latter part of the Joseon Dynasty, more closely related contents were added to the daily life, as the Sadaebu[士大夫] became the center. Visualization in the form of a folding screen that can be seen in everyday life focuses on the contents that can be performed in married life in the home of the husband’s parents in the late Joseon Dynasty. In other words, this change is an indicator of the patriarchy advanced in the late Joseon Dynasty.