Self-expression And Self-concealment

In the painting of SongTaoSanXianTu, the portrait, Xiangshengmo, is dressed up as a traditional hermit by Xiebin, who is the painter of the painting. From art history aspect, the portrait painting which created in the later Ming Dynasty and the beginning of Qing Dynasty succeed from the former portrait paintings. However, in the efficacy and the meaning aspect, the portrait painting during this time has been endowed with new meanings. What on earth do Xiangshengmo who is an adherent artist of the Ming Dynasty dressed in the painting of SongTaoSanXianTu? Whether because the desertion of the adherent status or the culture of dress up? Whether show the unwilling dream or conceal the pain as an adherent? The paper will take SongTaoSanXianTu, which painted by Xiebin and Xiangshengmo, as an example, and related to the history background, the landscape behind the portrait, postscript or comments by others, biography of Xiangshengmo, cooperative painting and the relationship between the artists, try to show Xiangshengmo more versatility and lively. The paper also try to form contracts between the portrait painting of Xiangshengmo and the portrait painting of Yuan Dynasty, SongTaoSanXianTu which created at 52 years old by Xiangshengmo and SongTtaoSanXianTuYongJuan which created at 33 years old, try to demonstrate the obscured of the portrait dressing in the painting. And try to explore that when the artists painted hermit living of portrait painting for showed themselves, this kind of painting can be become a universal kind of theme.