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在中國繪畫史上,肖像畫在漢(前二○六——公元二二○年)、唐(六一八——九○七年)就已流行,元(一二七九——一三六八年)、明(一三六八——一六四四年)以後逐漸走下坡路。到了上世紀末、本世紀的清末,人物畫就已日薄西山,氣息奄奄了。新中國成立後,人物画有了起色,但其中肖像畫的發展却非常緩慢。十年動亂以後,在肖像畫的園地里仍然顯得寂寞,它遠遠比不上山水、花鳥和流行的牧歌式人物畫、仕女畫。當然,說它寂寞,並不等於說沒有人问津了。中國美術家協會會員、蘇州市文聯副主席、蘇州市工藝職工大學教師劉振夏,就是孜孜不倦地長期從事中國畫肖
In the history of Chinese painting, portraits were popular in the Han Dynasty (from 206 to AD 220) and Tang (618 to 907). Yuan (1279 to 1368 Year), Ming (one thousand six hundred sixteen - one six four four years later gradually decline. By the end of the last century, in the late Qing dynasty of the century, the figure paintings were already thin and dying. After the founding of New China, figure painting has improved, but the development of portraits is very slow. After ten years of turmoil, the portraits of the portrait still seem lonely. It is far behind landscapes, flowers and birds and the popular idol figures and ladies’ paintings. Of course, to say that it is lonely does not mean that nobody cares. Chinese Artists Association, Suzhou City, vice chairman of the Federation of Arts and crafts workers in Suzhou City University teacher Liu Zhenxia, is tirelessly engaged in Chinese painting Shaw