本文通過對晚清民國時期「自題小照」寫作的研究，描繪視覺影像與 中國本土抒情傳統的對峙共謀、相融相長的錯綜複雜的關係，以及由此而 激發出的新的美學意涵。以晚清民國文人詩集（如譚嗣同、康有為、沈曾 植、嚴復、秋瑾等）和20 世紀前二十年圖文並刊的大眾雜誌為立論基礎， 本文關注如下議題：現代文化人在詩中，如何銘刻這一觀照自我的抒情的 瞬間？自題小照，作為歷史久遠的文體，它典律化的抒情與倫理的機制在 現代的語境中如何運作？詩人如何理解客觀化的、過去的、多重的自我影 像？女性詩人在凝望自我的過程中，如何對傳統性別化的想像進行反撥？ 這些個人肖像照與題照詩的互動背後的心理與哲學的思辨，亦為我們提供 了考察中西視覺文化的相同相異的絕佳場域。

Extending the tradition of classical-style poems, which are inscribed on or written about paintings of the self in the modern era, this paper delves into the newly formed relationship between the Chinese lyrical tradition and modern photography. It explores the moral implications of this new poetic genre, “poems on photographs of the self” (ziti xiaozhao), and issues of temporality and alterity involved in the confrontation with a self-image. In addition, it examines the photographs of female writers and their understanding of gendered visual selves as well as “costume photographs,” which exhibit multiple ways of imagining the self. Utilizing a significant amount of previously unexamined materials, this paper enriches our understanding of the self/image and text/image dynamic, shedding light on the cultural and affective articulations of the self in the technological era.