在今人的印象中，「照鏡」往往是女性專屬的動作，男性照鏡則不免看似造作；但若觀照現存之文學文獻，兩漢魏晉期間「照鏡」乃是男性風采的象徵，今人認為「照鏡」為女性專利，其性別刻板印象的起源至多上溯南朝。《藝文類聚》中收錄了西晉時期的傅咸〈鏡賦〉、梁朝的劉緩〈照鏡賦〉與庾信〈鏡賦〉三篇賦作，其中所表現出的賦作風格迥異，對於鏡子的認識與價值賦予，也都全然不同。本文擬從三篇賦作為出發點，分析魏晉南北朝前期與後期對於鏡子認識的差異，觀察此一時期「照鏡」書寫的性別取向如何從男性轉為女性、以及南朝時期「女子照鏡」形象的奠定，並從中側映出魏晉南北朝前後期不同的時代風潮。

The contemporary impression on looking at mirror is a feminine action while males are considered pretense when looking at mirror. However, the existing literatures suggested, looking at the mirror was the symbol of male presence during Han Dynasty and the Period of Disunity while it was viewed as the privilege of females nowadays. The gender stereo type could be traced back to the early Period of Disunity. "Yiwen Leiju" collected three poetries regarding mirrors by Hsian Fu in Jin Dynasty, Yuan Liu and Hsin Yu in Liang Dynasty respectively. The styles of these poetries were distinct and had different cognitions and senses of value on the mirror. The study attempted to analyze the cognitive differences on mirror in early and late Period of Disunity from these three poetries. How the gender orientation of looking at mirror transformed from muscular to feminine and how the impression of looking at the mirror regarded as feminine were observed. The different trends of time in early and late Period of Disunity were also reflected.