縱觀西洋美術史，繪畫上有著許多豐富的主題，傳統具象、平面繪畫方面：諸如風景畫、靜物畫、人物畫等等，都留下許多珍貴且偉大的畫作。繪畫的主題大體來說，也決定了畫作本身的樣貌，甚至是其取向與藝術價值。幾世紀以來，畫家在選擇題材上，除了推陳出新發展出新穎或個人風格之外，其實，有更多偉大畫作的呈現，是來自於基本功的反覆琢磨；或是向前人學習；向歷史學習；畫家試圖藉由類似的主題取得更佳的畫面效果。
偉大畫作的概念，往往是源自於最根本、簡單的觀念。例如達文西(Leonardo da Vinci，1452-1519)的蒙那麗莎(Mona Lisa)，林布蘭(Rembrandt van Rijn，1606-1669)的自畫像系列，或如賽尚(Paul Cezanne，1839-1906)單純堅實的風景畫等等，都是最好的佐證。近代的畫家，莫蘭迪 (Georgio Morandi，1890-1964)亦是極佳的典範之一。現今任教於文化大學藝術研究所的教授許坤成 博士，其繪畫作品雖往往僅取材自簡單、平實的日常事物，但帶給觀賞者的感受卻是雋永的。
本論文欲就西洋人物繪畫範圍中的「肖像畫」，作為研究的要點，並從西洋美術史的角度分析肖像畫在各個時代的畫面呈現特色，藉以探討肖像繪畫中的理念及外在形式。
如何以形式手法達成精神意念的表達，一直是所有畫家的重要課題。藉由幾幅具代表性的肖像畫，筆者做一系統性的探討，由表入裡以各類型肖像畫所賦予觀者的感受，相互對照各個畫家在畫作上的表現手法，並探討畫面的內涵精神之所在。
本論文筆者以肖像畫史為開端，而後引用范艾克(Jan van Eyck，1390-1441)、林布蘭、魯本斯(Fleming Peter Paul Rubens，1577-1640)三位畫家的作品來解析畫家對於肖像畫創作的精神性表達，而這也代表著三種不同的技術理念之轉介過程。
Over time, in the history of western art, paintings consist of various rich topics. In terms of traditional paintings such as scenery, still life paintings and portraits, numerous precious and great paintings are left behind. In terms of topics of paintings, they play decisive roles in looks of paintings and in value of art. For centuries, in addition to develop fresh personal style, painters present great paintings by means of honing fundamental skills or learning from the precedents and history. Painters attempt to improve performance through similar topics.
Concepts of great painting often originate from most fundamental and simple ideas. Case in point: Leonardo da Vinci’s (1452-1519) “Mona Lisa”, Rembrandt van Rijn’s (1606-1669) series of self-portraits or Paul Cezanne’s (1839-1906) simple and solid scenery painting. Modern painter Georgio Morandi (1890-1964) is one great model as well. Dr. Kun-Cheng Hsu at graduate art program of Chinese Culture University’s works often portray simple and everyday objects but have lasting ramifications on beholders.
This thesis is based on “portraits” of western paintings to include analysis of painting of each period of time in history of western art and discussion of concepts and external forms of portraits.
How to achieve expression of spiritual concepts via approaches has been painter’s primary issues. The author conducts systematic discussion based on some classic portraits, compares painters’ approaches via feelings of onlookers of sorts of portraits, and discusses inner spirit of paintings.
This thesis starts with history of portraits and borrows artworks of Jan van Eyck (1390-1441), Rembrandt van Rijn and Fleming Peter Paul Rubens (1577-1640) to analyze spiritual expression of creation of portraits, which also represent three referral processes of different techniques.
