研究期間：10108~10207;Portraits became very popular in the Qing Dynasty, and many male scholars and female authors made “small pictures” or “small portraits”. Made by either oneself or others, the portrait and its included poem became part of the major “self-reinterpretation” channels for women in the Qing Dynasty. As the portrait recorded the female subject’s appearance and image and the poem demonstrated her spiritual contents, a full self-image was formed by combining these elements. Hence, the self-image, self-ideal, self-interest, and self-value of life of women in the Qing Dynasty are manifested in the portrait’s poem. When the painting’s poem is made by others, it is the female image formed in the mind of the writer according to their viewpoint of the subject or the narrator’s perception on the protagonist’s interest and mind. From painting poems made “by oneself” and “by others”, multiple aspects of the female image in the Qing Dynasty are revealed. Therefore, by reviewing portrait painting poems made by either the individual or others, the female image formed, depicted, and interpreted in the first-person and third-person viewpoints and the cultural implications of a female’s self-expressed psyche are further explored.
