明清《西廂記》刊本卷首多冠有鶯鶯畫像，提供讀者繽紛多姿的視覺經驗。本文細查鶯鶯畫像圖版，發現「鶯鶯遺照」與「雙文小像」是當時最流行的兩款題字。「遺照」集中在明代，「小像」多出於清代。明代鶯鶯像，多為端嚴的半身造型，低眉、蹙首、凝視、支頷，透過「遺照」題字強化悲劇性的詮釋，想像一個摯情憂鬱的紅顏。清代鶯鶯像，多為全身造型，擡手拈指、肢體迴旋，沖淡了抒情的意味，彷彿舞臺角色的再現。清代畫家仿照壁女畫構圖，並附刻題詩，創造了深具沙龍意義的「小像」，在視覺上呈現秉禮德莊的佳麗魅力。鶯鶯畫像圖面意涵的差異，顯示了兩代文人觀看/期待女性的意識有所不同，本文的論述希望能解釋一部份明清時期的性別思維與文化變貌。

The portrait of Oriole [Yingying] on frontispiece in story of the Western Wing (Xixiang ji) published in the Ming-Qing Dynasty often gives readers a floried visual impression. The study compared the Yingying in the posthumous portrait and the miniature portrait carefully and found out that the wtwo figures and related inscriptions were the most fashionable style at that period. The posthumous portrait can be seen frequently in the Ming Dynasty and the miniature portrait in the Qing Dynasty. The Yingying in the Ming Dynasty had a serious figure; her low-brow and frown look, i.e. she rested her chin on her hand looked very heavy-hearted. This bust was a tragic role. In particular the related inscription was absolutely sad. The Yingying in the Qing Dynasty had a charming figure; she raised her hand, held the fingers and turned her body that showed a sentimental role on the stage. This whole-length portrait was a beautiful traditional Chinese painting; the related inscription stressed the charm of dignity and elegance. The difference of the two portraits reveals the viewpoints of the two dynasties. They totally had diverse expectations to women. The study aims to explain part of the gender thinking and cultural feature in the Ming-Qing Dynasty.