中國畫家早於魏晉南北時期就強調以「悋對」、「不俟對看」的背擬法創作肖像畫，而歷代以來亦有不少王論家與畫家繼續倡導此方式，他們主張以「目識心記」的方式創作始能達「傳神」境界。然以此默寫方式畫淑像，除了要默記對象的具體形貌外還要默記對象的神情，實非易事，因人的神態情感是極抽象微妙且複雜，故歷來能傳承此種傳統的實如鳳毛麟角。 李琦(1928-)是當代最專注於水墨肖像畫創作的大陸畫家之一，他最傑出之處是默寫。在肖像畫頗為沈寂的當代，李琦三、四年來持續以默寫創作肖像畫，且已開拓出筆簡神全的獨特風格，對中國肖像畫之傳承實有不可忽視之貢獻。然並未見任何學術專文對此進行探討，本文乃嘗試藉由各角度的分析，以期為李琦以默寫畫的肖像，建構起一較完整清晰的面貌。本文先概述歷代倡導以默寫畫肖像的論述及實際創作狀況。進而李琦的學習過程及時代藝術環境來探究他為何專注於肖像畫，尤其是默寫。重點乃在分析李琦〈我畫默寫像〉一文及他創作默寫像的兩個主要時期之內容與風格。結論處探討他的默寫畫作在中國肖像畫史之重要性及其定位問題。

Chinese artists have practiced to render a figure from memory since early times. Through the centuries, many art theorists and artists emphasized that this approach was the best way to transmit the subject’s spirit. Few portraitists have been able to inherit and master this tradition, since it is rather difficult to memorize both the appearance and the spirit of a figure, especially the latter being so delicate, complicate and abstract. Li Qi (1928-) is one of the very few Chinese modern portraitists who have been paying much attention to inherit this tradition, but none academic essays yet has ever studied on his portraits portrayed from memory, that is the focus of this essay. After a brief review on Chinese discourses and practice of portraying figures from memory, four main points concerning Li Qi’s works are analyzed: the causes why he has been choosing portraiture as his singled theme, especially portraying figures from memory; his discourse on portraying figures from memory; the characteristics of his portraits portrayed from memory in two main periods; the importance of his portraits portrayed from memory in the history of Chinese portraits.