中国画中的人物画向来具有一种叙事和事功的功能,这是与中国传统的儒家思想一脉栩承的。因此,在中国传统画论中,早期关于人物画的论述都与这种功能密切相关。东汉王延寿就明确说,绘画的功能在于“恶以戒世,善以示后”。所以,后来南齐谢赫在《古画品录》中直接提出:“图绘者,莫不明劝戒,著升沉,千载寂寥,披图可鉴。”而唐代张彦远在《历代名画记》中则进一步指出:“夫画者,成教化,助人伦,穷神变,测幽微。”这里所说皆指人物画。由此可见,中国传统人物画在强调教化功能的同时,直指人的精神和道德,而并不在于其叙事的一面。但近代以来,中罔画的人物 Figure painting in Chinese painting has always had a narrative and meritorious service function, which is the same as traditional Chinese Confucianism. Therefore, in the traditional Chinese painting theory, the early discourse on portrait painting is closely related to this function. The Eastern Han Dynasty Wang Yanshou made it clear that the function of the painting lies in that “evil is morally virtuous and good after show.” Therefore, later Nancy Sheikh in the “Ancient Paintings” directly put forward: “Painters, uncertain persuasion, with Sheng Shen, Qijia lonely, Phi can be Kam.” And the Tang Dynasty Zhang Yanyuan in the “ Ming Paintings ”further states: “ Fu painter, into a Christian, help the benevolence, poor God change, measured quiet. ”Here are all referring to figure painting. This shows that while emphasizing the function of enlightenment, Chinese traditional figure painting refers directly to the human spirit and morality, not the narrative aspect. However, in modern times, no one draws the characters