赵之谦画像 - 美国大都会艺术博物馆展品查阅

品名（中）	赵之谦画像
品名（英）	Portrait of Zhao Zhiqian
入馆年号	1986年，1986.267.30
策展部门	亚洲艺术（Asian Art）
创作者	Wang Yuan【1862 至 1908】【中国人】
创作年份	公元 1871
创作地区
分类	绘画（Paintings）
尺寸	41 3/4 x 13 1/4 英寸 (106 x 33.7 厘米)
介绍（中）	晚清最有影响力的书画家之一赵之谦题写了他的画像：世人若赞我，我不受此赞；毁我者，我不怨。唯有画家才能捕捉我的画像。挂在墙上，它会激励人们喊出："是赵，是赵！"我既不走也不坐，独自站着，笑着什么也不说（文方，跨性别，《两种文化之间：十九世纪末二十世纪初的中国绘画》，大都会艺术博物馆罗伯特·H·埃尔斯沃斯收藏[纽约：大都会艺术馆，2001年]，第40页）在中国绘画中，除了肖像画之外，传统的标准是笔触的生命力，而不是视觉的逼真度。因此，肖像画在中国历来不受重视。学者赵为其肖像画的逼真性而发出的赞扬，证明了十九世纪人们越来越尊重逼真性，认为这是适用于所有美术的标准。
介绍（英）	Zhao Zhiqian, one of the most influential calligraphers and painters of the late Qing period, inscribed his portrait: If the world praises me, I shall not accept such praise,Of those who try to destroy me, I shall not complain.Only the painter can capture my likeness. Hanging on the wall it will inspire people to call out, "It is Zhao, it is Zhao!" I neither walk nor sit but stand alone, and with a smile say nothing. (Wen Fong, trans., Between Two Cultures: Late-Nineteenth- and Early-Twentieth-Century Chinese Paintings from the Robert H. Ellsworth Collection in The Metropolitan Museum of Art [New York: The Metropolitan Museum of Art, 2001], p. 40) Brush vitality, not optical fidelity, was the traditional criterion for lifelikeness in Chinese painting, except in portraiture. For this reason portrait painting was traditionally held in low regard in China. The praise that Zhao, a scholar-artist, voices for the lifelikeness of his portrait testifies to the growing respect in the nineteenth century for verisimilitude as a criterion applicable in all the fine arts.