这个主题选取了中国现代史上几个大的历史横断面，如废缠足运动、抗日战争、文化大革命
等，以集中展示20世纪中国妇女的心路历程。

　　该展区还特别设计了一个主题――“她的故事”。讲述了一个普通劳动妇女平平淡淡的一生，
并通过她与帝王将相，才子佳人的“精彩人生”的鲜明对照，来展示普通人的生命意义和生
存价值。

This part integrally displays the women’s struggles in Abolishment of Binding Feet, Revolutionary War, Anti-Japanese War, Cultural Revolution and so forth in the 20th century.

In the part, we have a special exhibit “An ordinary Woman’s Story”. The intention of doing so is to praise the life value of ordinary people.
首页
女书
嫁衣
织物
历史上的女人
生育文化
女红
述
 
　　缠足妇女的鞋子和“裹脚布”。

The shoes of feet-bound women and their foot bandages (foot bandages were used for binding women’s feet in the feudal society.)
　　这里展出的是翟佩英出嫁时穿的棉裤，纺麻绳用的纺锤，锤布用的棒槌，还有绣花的崩子……

这是她死后，她的丈夫――一名普通的机关干部含泪将这些遗特送给了博物馆。

Exhibited here are what Zhai Peiying has used: the cotton-padded pants she wore during her marriage ceremony, spindles she used to spin flax ropes, a wooden club she used to beat clothes when washing, a thimble she used in doing embroidery, so on and so forth.

These are the remains her husband, an ordinary cadre, tearfully gave to the museum.
　　文化革命时，河南辉县修渠的农民中有一个青年女子组成的“石姑娘队”，这是它的队员们亲手缝制的队旗和她们修渠时使用的工具。它们共同记录了一段特殊的历史。按照当时人们的理解，“男女都一样”，就是女人跟男人一样；“男女平等”，就是女人跟男人平等。今天反思这段历史，我们无疑会获得新的性别启示，同时也会看到中国妇女性别观念的成长历程。

The flag embroidered by the “Stone-willed Girls” and the tools they used when building the a grand canal. They related a special period of time. In that time, airwoman, woman mineworker, motor woman were the rage.

Equality of the sexes meant that woman ought to imitate man.
　　这是文化革命时期出版的部分样板戏剧本和剧照。

　　《红灯记》中，这个做父亲的从未结婚生子，也
不是老奶奶的亲儿子，孙女的生父和奶奶的丈夫都为
革命献身了，三个没有血缘关系的人组成了“革命家
庭”。

　　《红色娘子军》是歌颂女战士的，但女战士中却
有一个男的领导，他也是女主人公的救命恩人，后来
他牺牲了，女主人公做了领导，可是你看，终场的“
亮像”时，一个男人（可能是一个上级）又站在的舞
台最显赫的位置上，由女战士来陪衬，这在当时一定
是无意识的，今天看来是不是很有趣呢？

These are the scenarios and stage photos of Model Opera published during the Culture Revolution.

Stressing on the controlling of one’s emotion by reason and on the obedience of individuals to the group, Model Opera advocated the basic theories which sound similar to those of the French classical drama in the 17th century. In the drama “ The Legend of the Red Lantern”, this man acted as the girl’s father, but he had never got married, nor had he any off springs of his own; what ‘s more, he was in fact not the son of the old grandmother.

Both the granddaughter’s father and the grandmother’s husband had sacrificed their lives for the revolution. The grandmother said that the granddaughter was “ the only heir of brother Chen and the offspring of the revolutionaries “. Thus these three people who bore no ties of blood formed a “ revolutionary family”. The granddaughter was only the “heir” of her father, but where was her mother? What was her mother’s feeling towards this? “

The Revolutionary Women Army”, was a drama glorifying the female soldiers. However, the head of this group of female soldiers was a man, who also saved the heroine. Later the heroine took his position after his death. But you see, in the final “stage pose”, another man (maybe an authority) stood in the high-light of the stage, with the female soldiers as the secondary ones. This was certainly of unconsciousness at that time, but don’t you think there is anything interesting in it nowadays?



　　这是文革后期的床上用品，图案上新婚夫妇（按那时流时的术语叫做“革命伴侣”）并肩而立，表情严肃，充满着毫情壮志，它用纪录着一个时代，也许这样的图案风格从此再也不会有了。

These are the bedclothes used in the later period of the Culture Revolution.

A newly-married couple ( so called “revolutionary companions”, a proper noun used at that time) in a design stood shoulder by shoulder, serious and full of aspiration. This design rewarded what was like in a certain period of time, probably such kind of design would never reappear.
 
     
　©2001 Women Culture Museum