目前所知,明代最后一位留有坐像画的皇帝是明熹宗(1621～1627年在位),其坐像画有二幅,乾隆十三年(1748年)南薰殿内所有画像重加装饰,嘉庆二十年(181 5年)编入《石渠宝笈》三编,参与编制的胡敬另撰有《南薰殿图像考》,详载殿中收藏的历代帝王功臣画像,1949年后两岸故宫各收藏一幅,可谓流传有绪。根据胡敬的记录,此二幅明熹宗坐像皆“黼康冠服……旁二几陈设瓶炉书策”。与其父明光宗(1620年)或其祖明神宗(1573～1620年)坐像之表现方式截然不同。进一步观察明代诸帝的坐像,纵或各自有差,但明熹宗坐像所呈现的竟是前无古人、独一无二的景象,因此格外引人注目,也令人好奇。本文拟就明熹宗坐像的构图、内容、陈设等方面进行探讨,比较其与前朝诸帝坐像之差异,并尝试拉高视线,将触角伸出宫墙之外官宦与士庶间的坐像,试探其差异之原因。 As far as we know, the last emperor who left a portrait painting in the Ming Dynasty was Ming Xi Zong (reigned 1621-1627). There were two seated paintings. All the paintings in Nanxun Hall in the 13th year of Qianlong (1748) Jiaqing twenty years (181 5 years) into the “Shibao Baodi” three series, participated in the preparation of Hu Jingdian authored “Nanxundian image test”, contains detailed collection of ancient dynasty emperor hero portrait, after the two sides of the Forbidden City Collection of a, can be described as rumor. According to Hu Jing’s records, the two Ming Xi Zong sat like “Kang Ji Guan clothing ... ... next to the number two bottles showcase policy”. With his father Mingguangzong (1620) or his ancestral gods (1573 ~ 1620) sitting in the performance of a very different way. Further observation of the Ming Dynasty emperor’s sitting, vertical or each have poor, but Ming Xi Zong seated was actually unprecedented, unique scene, it is particularly conspicuous, but also curious. This article intends to explore the composition, contents and furnishings of Mingxi Zong, comparing the differences with the images of the former dynasties and attempting to elevate the line of sight, Try to explore the reasons for the difference.