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我们接触一个人,不论在现实中还是借助于想象,首先会在意他的模样,即平时所谓“音容笑貌”者。究其原因,尽管我们不是相面家,却对来自相貌的各种信息充满渴望,如不能觅得,就有雾失楼台之感,好像难以真正走近那个人。谈起弘光皇帝朱由崧,我便颇有此感。古代为帝王者,御容都要经宫廷画师描摹成图,虽往往加以美化,或者,因刻意比附隆准大耳一类所谓“帝王之相”而流于雷同,却总各有影绘存世。明代凡在南北紫禁城龙床上坐过之人,太祖朱元璋起,几乎都有写真;唯独两位例外,一位是惠文帝朱允炆,一位便是后来庙号安宗的弘光皇帝朱由崧。
When we come into contact with a person, we will first of all be concerned with his appearance, whether it is in reality or imagination, that is, what we usually call a “voice and smile”. The reason for this is that although we are not home-relatives, we are full of desires for various information from the appearance. If we can not find it, we have the feeling of losing the balcony to the fog, as if it is hard to really approach that individual. When I talk about Emperor Guangyu Zhu Youyong, I feel quite about it. Ancient imperial emperors, the Royal capacity must be described by the court painter into a map, although often be landscaping, or, because deliberately attached to a large aurora so called “emperor of the phase” and flow in the same, but always have their own shadow Painted the world. In the Ming Dynasty, people who sat in the Dragonbeds of the Forbidden City in the north and south had almost all of them pictured since the emperor Zhu Yuanzhang. Only two exceptions were the Emperor Hui Yun-tzu Zhu Yun-chun, and the one later was Emperor Youguang Zhuo Yung-song of the Temple of Order Anzong.