沈泊塵是清末民初活躍於上海的插畫家，其作品以深具西洋特色而聞名。本文以其在《大共和畫報》連載的「新新百美圖」為主，討論其新女性圖像特色以及這些圖像與清末民初幾位女權運動者的關係。「百美圖」原是清初成形的繪畫格套，主要是將歷代美人包羅於一書，供騷人墨客觀賞題詠之用。唯其中尚武美人展現的英勇特質最為獨特，被沈泊塵用來描繪民初的新女性，表現她們勇於面對時代挑戰的獨立與自信。由於沈泊塵與女權運動領袖互動密切，因此他所描繪的新女性獨樹異幟，反映女權運動者內心期待的時代風貌。可惜這種清新健美的新女性圖像，隨著女權運動的激進變質以及情色文化的強大傳統，快速地被上海市民所厭棄，被迫退出消費市場。

Well-known for his Western drawing techniques, Shen Bochen was an active illustrator in Shanghai from the end of the Qing Dynasty to the beginning of the Republic of China. This study aimed to analyze Shen’s new women images published in the “Xin xin baimei tu” (new portraits of a hundred beauties) column in Great Republican Pictorial Post and their connection to some women’s rights advocates at the time. “Portraits of a hundred beauties” is a type of drawing collection consisting of pretty women in every dynasty. Writers and poets often use it as an inspiration for creation. In it, beauties with martial spirit are distinctive and were used by Shen to depict new women’s independence and confidence when facing challenges. Closely related to women’s rights activists, Shen’s work can be viewed as a reflection of the ideal new woman perceived by them. Unfortunately, as women’s rights activities became radical, Shen’s fresh and healthy images of women were soon eliminated from the market under the great pressure of the pornographic culture and tradition.

沈泊塵; 新新百美圖; 大共和畫報; 辛亥革命; 新女性

Shen Bochen; Xin xin bai mei tu; Great Republican Pictorial Post; Xinhai Revolution; new woman