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“男主外”而“女主内”是中国儒家的传统礼教,宋代程朱理学的发展,“男外女内”的教化礼仪得到强化。“帘幕”可垂可卷,有着阻隔和连接内外的功能,在内外世界交接的地方,存在着双性目光的交流。“帘幕”意象由此获得性别角度上的内涵,不同性别主体探知的“帘幕”世界大相径庭:“男子作闺音时”借“帘幕”背后的女性生活表达自我心境,使词作具有“双性之美”的审美特质;女性词人则借用“帘幕”反映自身深居内院的孤独生活以及展现自己对自我角色的期待,具有“自我觉醒”意识。
“Lord of Man” and “Lord of the Women” are the traditional ethics of Confucianism in China. The development of Cheng-Zhu Neo-Confucianism in the Song Dynasty strengthened the enlightenment of men and women. “Curtain ” can be vertical and horizontal, with a barrier and connect the functions inside and outside the place where the handover between the inner and outer world, there is a glitzy exchange of eyes. The “curtain” image thus acquires the gender perspective, and the “curtain” world as perceived by different genders is quite different: the “female life behind the curtain” The expression of self-mood makes the poem have aesthetic qualities of “beauty of bisexuality”; female poet borrows “curtain” to reflect his loneliness in inner court and show his expectation of self-character, with Self-awakening consciousness.