吳藻與劉清韻皆為清代著名女作家，吳藻作《喬影》，以男裝自畫像自抒懷抱，而劉清韻藉《鏡中圓》，面對自我並尋求情感寄託。在兩部劇作中，作者、主角與自畫像之間的互動，與其所要表現之思想與情感，是相當值得探析的。吳藻與劉清韻身世遭遇不同，但在現實生活中皆有其不圓滿之憾，於是，她們藉由圖畫寫真以得到紓解與寬慰。本文試以兩齣劇作之文本為主，並探究其身世與當時社會風氣對其創作之影響，另旁及兩人之詩詞作品，以探究其透過劇作代言、「自畫寫真」背後的涵義。

Wu Zao and Liu Qingyun both are renowned writer in the Quing Dynasty. Wu Zao expresses her feelings and goals via a self-portrait disguised as a male in her work Qiao ying, while Liu Quingyun faces herself and pursues emotion reposing in In Mirror Circle. In these two dramatic works, the interaction between the author, the lead and the self-portrait as well as the thoughts and feelings is definitely worth exploring and analyzing. Though Wu Zao and Qingyun had differing life experiences and different situations, they both had unsatisfying fortune in reality. As a result, they relieve and comfort themselves by painting portraits. This paper based on the two works looks into their life experiences and discusses the impact of social climate then on their creation. With the paper coming along with their poetry works, I’m willing to find out the meaning behind them by utilizing their self-portraits and their dramatic works.