畫中女故事中畫中女美貌又主動熱情，而故事中與畫中女互動的男子多為文士身分，風流倜儻或輕狂不羈，如此的人物形象塑造，乃因男子的孤寂心理期待得到補償所致。故事中「畫像成真」的情節或因「存想致神」，或因「心誠則靈」、或因「真幻相通」、或因「移情作用」等心理因素而形成。; Turning into a real person as shown in Girl-in-Painting stories, is common in books from ancient China. Many stories are presented in this way. Based on collecting and analysing the plots of folktales and old stories, this thesis aims at studying the imagery of the roles. It will also try to study the psychological thoughts of ‘'portraits come true''.
The plots of Girl-in-Painting stories had been presented differently by cutting off or adding on more plot material. The changes can be linked back to either the time in history or the authors themselves. Girl-in-Painting stories had been written from the North Dynasty period onwards. They had developed a certain structure and pattern in narration by that time. From the Tang Dynasty, for instance, Story Zhen Zhen, a specific way of narrating had fully developed. This became a kind of general artistic performance. It aimed at presenting the thoughts of sincerity, or so-called, Sincere feeling thought.
On the other hand, male's roles in Girl-in-Painting stories are so thoughtful and helpful that they often obtain help from girls in Girl-in-Painting stories. It, however, is a presentation of one of the moral values—‘' (Doing) Good is rewarded with good.''
Girls in Girl-in-Painting stories are usually marvellously passionate and beautiful. Men who interact with those girls are generally bachelors and gentlemen, too. They are loose clean, or frivolously uninhibited. The shape and form of these images of male characters had been shaped and formed as a kind of compensation. It resulted from psychological anticipation—Lonesomeness. The plots of ‘'portraits come true'' are accomplished by psychological factors, for example, ‘'Deification by thinking deeply'', ‘'Miracles only happen to those who stay true to their faith in God; ‘' reality mingled the unreality and ‘'Transference''.
