相对于辽代而言,金代美术遗存较多,主要以寺院和墓室壁画为主,至于纸帛绘画现存作品数量十分有限,个别作品,目前学术界尚有争议。而作为皇室人物肖像绘写的金代御容,文献记载中的数量之多、奉安场所之集中、奉迁仪式之规范,都反映出御容在金代宫廷生活中重要地位和作用。与同为少数民族的辽代御容相比,金代主要为绘写类,材质相对单一,但所绘御容对象范围扩大、形式丰富,极大地拓展了唐宋辽以来的御容表现,为元明清御容的繁荣发展建立了较为完善的体系。研究金代御容,不仅能进一步廓清金代宫廷生活的历史面貌,而且为金代美术的整体研究拓展出新的方向。 Relative to the Liao Dynasty, the Jin Dynasty remains more art, mainly in monasteries and tomb murals, as far as the limited number of works on paper silk paintings, individual works, the current academic controversial. However, as the portrait of the royal family portrayal of the Golden Sovereign, the number of records in the literature, the concentration of place of worship, the norms of Fengxian rituals, reflect the Royal capacity in the Jin court life important position and role. Compared with the Liao Dai scholar of the same ethnic minorities, the Jin dynasty was mainly a type of writing and writing, the material is relatively single, but the scope of the object of the Qing dynasty was expanded, the form is rich, greatly expanded the performance of the Sanyong since Tang and Song dynasties, For the Yuan Ming and Qing imperial prosperity of the establishment of a more perfect system. Studying the GIFs can not only further clarify the history of the court life in the Jin Dynasty, but also develop a new direction for the overall study of the Jin Dynasty art.