汉赋作为中国文学史上一种特殊的文体，具有丰富多样的文化内涵和艺术价值。其中，女性形象在汉赋中占据了重要地位。本研究聚焦《长门赋》和《自悼赋》两篇经典宫怨题材赋作，关注汉赋中的宫廷怨女形象书写及其价值。两篇汉赋刻画出的宫廷怨女形象，具有美丽的外在特征以及感人至深的内在性格特质，蕴含着女性不甘现状以及对于精神和情感的追求。结合角色认知理论来分析，宫廷怨女这一形象在汉赋作家的刻画下经历了角色扮演、角色冲突和角色调试的认知过程，展现了女性对于生命失落和痛苦的感受，以及她们怨而不恨、怨而不怒的情感态度。由此可以看出汉赋中宫廷怨女这一形象的书写呈现了汉代宫廷女性依附君权艰难生存、深受传统礼教束缚的不利处境，也为后世宫怨体文学奠定了典型的人物形象和意象的基础。

As a special style in the history of Chinese literature, Han Fu has rich cultural connotation and artistic value. Among them, the female image occupies an important position in Han Fu. This study focuses on Chang Men Fu and Self-Mourning Fu, two classical palace enmity Fu works, focusing on the writing and value of the grumbling maid in palace image in Han Fu. The images of complaining women in the court depicted in the two Han Fu poems have beautiful external features and deeply moving inner characteristics, which contain women's unwillingness to the status quo and their pursuit of spirit and emotion. Based on the theory of role cognition, the image of the grumbling maid in palace experienced the cognitive process of role playing, role conflict and role adjustment under the depiction of Han Fu writers, which showed women's feelings of life loss and pain, and their emotional attitude of complaining but not hating, complaining but not angry. It can be seen from this that the writing of the image of the court complaining woman in the Han Fu presents the unfavorable situation of the court women in the Han Dynasty living hard by the imperial power and being deeply bound by the traditional ethics, which also lays the foundation for the typical character and image of the later palace enmity literature.