在這三組系列的創作中，筆者更關注的是繪畫本身，即用阿爾貝蒂提出的「歷史性繪畫」及貢布里希提出的「視覺的再現科學與心理學」的理論，通過對繪畫再現的形式美學進行辯證的思考與分析，將繪畫的步驟逐步拆解為心智從客觀到主觀創造的過程，藉以論證「結構主義」在繪畫思想中的重要性，為筆者接下來的「詞圖視覺理論」的研究做好基礎概念的鋪墊。
作品題材以肖像畫為原點，以歷史為橫坐標，主體性為縱坐標，分析具有敘事功能的肖像畫這一類型繪畫是如何體現出西方現代主義中討論的「個性」這一人文概念，並將之擴大到社會學的範疇，來說明肖像畫的重要意義。
文章通過形式與創作過程的分析，扣住了西方上千年藝術史探索的「再現」這一主題，解釋了繪畫形式中所代表的關於形神兼具的辯證思想，以及結構主義的重要性，試圖利用繪畫的語彙探索圖文演繹的可能性。

During the process of making three series of paintings, I try to explore the conception theories of painting itself, which is articulated by Leon Batista Alberti in the term of ‘Istoira’ of the picture and proposed by E.H.Gombrich in the term of ‘Science and psychology theory of representation’ in order to analyze the form of the genre of Portraiture in a formulation of a decorative sphere, which embodies a kind of authentic beauty of the term ‘Identity’ using psychological thinking of the contemporary Western society.
I gradually divide the painting steps into several processed mind pieces from objective to subjective, in order to demonstrate the importance of "structuralism" while analyzing the formal aesthetics dialectically in order to lay the foundation for the basic concepts of the research of visual theory. I draw a diagram of these ten portraitures whose theme as the origin, history as the abscissa, and subjectivity as the ordinate to analyze the meaning of the narrative portraiture which embodies the humanistic concept of “individuality" discussed in Western modernism, and extend it to the category of sociology to illustrate the importance of this painting genre.
Through the analysis of form and process, the article buckles the theme of "representation” which has been discussed in Western art history for hundreds of years, whose philosophical idea is about Structuralism, in order to explore the possibility of a new art theory of contemporary portraiture, trying to use the vocabulary of painting to explore the possibility of theory between text and visual’s interpretation.

參考書目
中文書目：
1. 範光隸 著，《維根斯坦》，臺北市：東大圖書公司，1994
2. 復旦大學中文系文藝理論教研組 編，《形象思維問題參考資料》，上海：上海文藝出版社，1979
3. 李幼蒸 譯，《結構的時代—結構主義論析》，臺北市：谷風出版社，1988
4. 梁鶴年 著，《西方文明的文化基因》，香港：香港中和出版有限公司，2017
5. 中央美術學院附屬中等美術學校 編，《物色黑白——附中學子的石膏世界》，北京市：人民美術出版社，2013

中譯書目：
1. E.H.Gombrich 著，范景中 譯，《藝術與錯覺：圖畫再現的心理學研究》，廣西：廣西美術出版社，2012
2. E.H.Gombrich 著，范景中 譯，《秩序感：裝飾藝術的心理學研究》， 廣西：廣西美術出版社，2012
3. Leon Battista Albelti 著，胡珺、辛塵 譯，《論繪畫》，江蘇：江蘇教育出版社，2012
4. Jean Robinson，Crag McDoner 著，白冰、馮白帆 譯，《繪畫手冊》， 江蘇：江蘇美術出版社，2012
5. Nick Meglin，Diane Meglin 著，《創意繪畫的藝術》， 上海：上海人民美術出版社，2011
6. William Hogarth 著，楊成寅 譯，《美的分析》， 北京市：人民美術出版社，1988

外文書目：
1. Catherine M Soussloff, The Subject in Art, Duke University Press, 2006
2. David Hockney, A History of Pictures: From the Cave to the Computer Screen, Thames Hudson, 1st Edition 2016
3. Edited by Joanna Woodall, Portraiture, Facing the subject, Manchester University Press, 1997
4. Edited by Peter Schultz and Ralf von den Hoff, Early Hellenistic Portraiture Image Style Context, Cambridge University Press, 1st Edition 2007
5. Hanneke Grootenboer, Treasuring the Gaze. Intimate Vision in Late Eighteenth-Century Eye Miniatures, University of Chicago Press, 2012
6. Mechthild Fend, Fleshing out surfaces, Skin in French art and medicine, 1650-1850, Manchester University Press, 2017
7. Richard Brilliant, Portraiture, Reaktion Books, 1st Edition 1991
8. Shearer West, Portraiture, Oxford University Press, 2004