“谁识当年真面貌”:自画像研究在西方

"Who Knows My True Face in Those Years" :Western Researches on Self-Portrait

自画像是绘画的主体之一,近来颇受西方研究者关注,新近几部著作揭示了中西自画像艺术的丰盈特性。自画像的发展与文字自传及背后的人性史紧密相通,随着时代的演进,个体自我意识和现代主体观念越来越强,表达欲望与方式也更具个性化;女性自画像在西方是突出现象,但并未艺术化地呈现在中国文化之中;相对而言,西方自画像更多地与宗教有关,在中国则与社会政治有着更密切的关联,往往以比较隐晦的方式来回应时代变化与压力,以晚明尤甚;从形式上看,西方自画像人体肉身形象逼真、质感突出,特别是裸体画像,可谓"人如其人",而中国则漫画写意风格明显,有角色化、嬉戏化色彩。

Self-Portrait is one of the most important subjects in painting,which attracts Western scholars’attention recently,and some of their works unfolded the plentiful characteristics of Eastern and Western selfportraits.The development of self-portrait is closely related to the autobiography in the textual form and the history of human nature,and over time,individual’s self-awareness and modern subjective concepts are more intense,and they express more personalized desires in more personalized ways.Female self-portraits are prominent in the West but not artistically presented in Chinese culture.Relatively speaking,Western selfportraits are more religious,but in China,they are more closely related to social politics and often respond to changes and pressures in more obscure ways,particularly in late Ming Dynasty.As far as the form is concerned,Western self-portraits highlight the fleshly image of the human body,especially nude portraits,so it can be said that"a man is like Adam",but in China,their freehand and comic styles are obvious,which leave a characterized and playful impression on readers.