性別的銘記與操弄是一個基本而普遍的文化結構。在不同文化世代中，女性－身體往往是不同意識形態交相指涉的文化操演空間。本文以《唐詩畫譜》中女性意象版圖的文化展演為論述主軸，探討晚明新型消費社會下，《唐詩畫譜》女性決象版圖作為禮教／情教、雅／俗相互指涉、辯證的文化演練空間，男性論述主體如何建構以性別差异作為欲望、權力的論述？在詩畫轉喻、互典的視覺藝術中，女性如何被塑造成帶著欲念的男性觀視之物？詩畫轉喻、互典的視覺意象與性別論述如何展現男性權力／父權體系的文化主宰結構？在晚明社會層級逐漸松動，及文化消費的動作機制與道德／欲望移位的文化氛圍中，女性意象版圖又如何逸離、擺湯於你權體制外而展演出女性－身體欲望之多元流動的變貌？一場跨越理／情、雅／俗文化範域的性別革命實踐，又是如何展演於詩／畫轉喻、互典的女性－身體空間疆界中？全文分從禮教圖式與讬喻美學、風月空間與情欲隱喻、觀視行為與欲力廻路、消閒空間與姐妹情誼四方面論述《唐詩畫譜》中女性－身體空間疆界滑移、越界所開啟性別、欲望、階級多重存在的流動認同的可能性。

The symbol of gender and its manipulation is a basic and common cultural structure. In the different cultural era, female and body usually are the space where different consciences are mixed. This paper focuses on the cultural development of the female symbolism in the Tang Poem's picture collection, and discusses its cultural meaning used and argued by rite/emotion, elegance/lowness in the new consumers'society of late Ming Dynasty. In the visual art using the analogy between poems and pictures, how would female have been modeled into an object containing male desire? How was the male power/the system of fatherhood demonstrated by the visual symbol and gender argument? In the late Ming Dynasty, under the gradually loosing social hierarchy, mechanism of cultural consumption, and cultural atmosphere of dislocated ethics/desire, how would the female symbolism derail and waver out of the system of fatherhood and develop an diversified face containing the concepts of female, body and desire. How was a gender revolution, crossing the cultural boundary of sense/sensibility and elegance/lowness, developed in the female/body's boundary of space of the analogy between poems/picture? This paper was divided into the four areas-(1) the pictorial examples of rites and analogy of esthetics (2) romantic space and analogical desire (3) behavior and desirous loop (4) the space of pastime and sisterhood-to discuss the possibility of agreement in co-existing gender, desire and hierarchy caused by the movement of the boundary of female/body.