作为明末清初最具代表性的人物画家,陈洪绶晚年创作的观音图像按照其风格特征可分为高古观音、奇骇观音和男相观音三类。这三类观音形象都是古之未有的观音图像类型,具有浓郁的陈氏风格。这不仅是陈洪绶个人审美意趣的表现,也是基于晚明特殊的社会背景之下产生的。禅净合一的佛教理论影响了陈洪绶的创作题材;明末心学则导致陈洪绶作品中大量出现以怪为美的“奇骇”造型;复古理论则对其具体的造型手法产生影响。 As the most representative figure painter in the late Ming and early Qing dynasties, the images of Guanyin created by Chen Hongshou in his later years can be divided into three categories: Guanyin Guanyin, Guanyin Guanyin and Guanyin Guanyin. These three types of Guanyin images are ancient Guanyin image type, with a rich Chen style. This is not only the performance of Chen Hongshou’s personal taste of aesthetics, but also under the special social background of late Ming Dynasty. Zen Buddhism and Zen Buddhism affect the creative theme of Chen Hongshou; late Ming Dynasty psychology led to a large number of Chen Hongshou works strange to the United States “strange ” modeling; retro theory has its specific modeling practices.