清代文人留有許多畫像文本，有一種文人像主旁侍艷色麗妹的類型畫像，本文稱作「郎與多麗」的主題圖式，十分令人矚目。就圖面而言，似乎迥異於陳洪綬那樣抒情意味的〈自畫像〉，然檢視題詠，又頗可與詩歌的抒情傳統相綰結，其中圖文關涉的不僅是物質與感官慾望的領域而已，像中文人之於姝麗，或具綺靡行樂的艷情，或具隱祕曲釋的幽情，或具愧悔解悟的禪情，當觀者為畫像題下：「此情追憶處」、「從此便無情」、「共道安仁情太劇」、「忘情非我輩」、「三生一夢坐多情」等詩句時，這些同名而異義的「情」潛藏在文人心裡的思維究竟如何？視覺觀看與思維想像間的辯證如何？一幅紀實具像的視覺圖畫如何呈現抒情向度？題識如何一端連結畫像，一端變衍於中國淵源流長的抒情傳統？本文挪借邏輯推理方法的一個語彙：「演繹」，廣蒐察考大量清代「郎與多麗」的主題圖式及題詠文字，為向以寫真具象為訴求之文人畫像文本的抒情意涵略作演示、鋪陳、推闡及細繹。其次，本文透過論析清代「郎與多麗」類型畫像聚合而成的大型文本，觀其抒情演繹如何迎拒傳統，及在詩學脈絡中的可能位置，為近世文化的變衍意涵試進一解。

Qing literati left portraits and versions of all kinds, and one of them features literati accompanied by beauties, which was pretty attention-grabbing and was called paintings of ＂Lung Yu Duo Li＂. Overall, painting of ＂Lung Yu Duo Li＂ and its inscription may be seen as a large version, with the content concerning not merely materials or erotic desires. In specific, feelings which literati from the paintings shown towards beauties may be explicitly sensual or subtly esoteric, and sometimes may also be marked by remorse arising from religious repentance. On the other hand, what do viewers see and provoke what imagination from these portraits? What perspectives of those ＂sentiments＂ with different purports crouch in literati’s mind? How is the defense or confirm between vision and visualization? How does a visible painting present its invisible sentiment? What’s the link that ＂sentiment＂ implies within? How do the inscriptions connect paintings and the long-standing Chinese tradition? By citing a term ＂deduction＂, this article collects a large number of Qing paintings of ＂Lung Yu Duo Li＂ along with their inscriptions, and meanwhile interprets and elaborates those lyrical inference of literati portraits. In doing so, this article inevitably unveiled the ambivalence between lyrical inference and tradition, also expounded the developing purport in modern culture.