On June 30th, 2017, the “Avatar-Avatar Real Portrait Exhibition” was opened in Beijing Jindu Art Center. The exhibition featured more than 20 portraits designed by Russian artists from the AVERY Portrait Gallery in the United States.










In the future, artists of the United States and Italy will also be featured. When the source of portraits are traced, portraits become more of a record, carrying a sense of awe and allowing enlightenment. Over the years, portraits have carried different contexts, reflecting different cultural traditions. For example, a single portrait of an emperor can be viewed with different colors, compositions, and symbolic totems as an insurmountable class; a portrait of a scholar can embody an indifferent Qingyuan pursued by the literati in the background of the characters' faces and landscapes.







With the invention of photographic technology, the proliferation of images, the advancement of science and technology, and the advent of the image age, portraiture has already departed from the original theoretical framework of traditional portraiture.










Under the premise that the significance of the documentary imagery is replaced and the traditional enlightenment function is almost gone, is it still worthwhile to understand and play the portrait as an ancient painting? In the contemporary context what should the canvas of the portrait be? What kind of internality does it present to people?