@article{oai:tobunken.repo.nii.ac.jp:00006057,
 author = {李, 清泉 and 西林, 孝浩 and Li, Qing-quan and Nishibayashi, Takahiro},
 issue = {411},
 journal = {美術研究, The bijutsu kenkyu : the journal of art studies},
 month = {Feb},
 note = {Through an analysis of the decorative motifs used in Song, Liao and Jin dynasties tombs, the author has clarified that the space beyond the furen qimen motif is a “sleeping chamber,” and thus the furen qimen motif alludes to a sleeping chamber. Then the question arises, why is the figure that stands in the half open, half shut door, opening the door without putting her foot outside a woman, and rarely a man?
     The furen qimen motif in Song, Liao and Jin tombs had already been formulated by the Later Han dynasty. However, from the Wei, Jin and Northern and Southern Dynasties period through the Sui and Tang dynasties, the furen qimen motif did not appear in tomb decoration. By the Song, Liao and Jin dynasties this motif had reappeared as a trend in tomb arts.
     Further, it is not simply an allusion to a sleeping chamber. The majority of the women who appear at a door in tombs of the Song, Liao and Jin dynasties are young and beautiful women. However, what must not be overlooked is the fact that this same type of motif also appears outside of tomb art. This motif can be seen in the decoration on bronze mirrors in the Song and Yuan dynasties. In these bronze mirror motifs, a beautiful woman is seen standing in a half-shut gate on the front of a building sheltered by the laurel bay trees found in the land of the immortals. Subjects and their contents that use this motif can be seen to have influenced the understanding and awareness at the time of the furen qimen motif seen in tombs. In addition, the figure of the woman who does not put her foot outside the gate, as seen in Song, Liao and Jin dynasty tomb decoration, cannot be seen as simply the wife of the deceased. Judging from the age and faces of these women, they could have been substitutes for the deceased’s attendant women or wives. However, even if that is the case, we cannot dismiss the possibility that they are immortalizations of these women. The winged form of female immortals can be discerned in the furen qimen iconography that appeared in the Later Han. On the other hand, in the Song, Liao and Jin tombs, there is the frequent use of heaven imagery, immortal women, bodhisattvas and palaces of the immortals used as decoration in the top of the tomb, all of which would be seen by the viewers as divine immortals. If that is the case, then the viewer would see the doors of the gate tower reminiscent of the sanctuary where immortals live, in the depths of the tomb.
     Further, the image of a woman opening that door also includes a sense of the Confucian moral view of women that women do not cross the threshold. From this viewpoint, we can explain why there is a gateway in furen qimen, why it is half open, half shut, and why it is all women opening the door, rarely men.
     During the Tang and Song dynasties, other than in tomb arts, images of beautiful women on the other side of a halfclosed door were a general visual interest in the society of the day. In the literary realm, in the romantic novels and popular literature begun in the Mid to Late Tang dynasty, there is frequent mention of women and half open gates. Further, a beautiful woman is shown in many of the Tang and Song dynasties romantic events that placed importance on evoking the pleasures of men and women, or in Song and Yuan theatrical performances. When people began to use such female imagery in tombs, they may have imagined the figure as the woman in the household who is a fusion of opening the door to the bedchamber for the deceased, Confucian ritual and female virtue, and thus they may have been seeking to depict the immortal abode in the afterlife that they dreamt about while alive.
     Thus, the furen qimen image alluding to the sleeping chamber used in Song, Liao and Jin tombs can be seen as the crystallization that emerged from the mutually interacting elements of Confucian ethics and sensuality, goodness and beauty, reality and fiction.},
 pages = {1--22},
 title = {空間論理と資格意味（下）―宋梁金墓「婦人啓門」図新論―},
 year = {2014}
}