清初海西法肖像画是西洋画与中国绘画融合后创造出来的肖像表现方式，传教士的海西法肖像画与中国画家的海西法肖像画有相同点也有不同点，本文试图从中西艺术观念、审美立场和艺术形式来比较两者的差异，发掘研究其差异的原因。并且，本文梳理当时的中国人对这种绘画方式的评价，比较研究其正面评价的原因与负面评价的原因。在正面评价中笔者了解到海西法肖像画在一定程度上补充和延续了中国绘画固定视点和结构造型的表现，提升了视觉的丰富元素。而在负面评价中了解到海西法的审美和观念有悖于成熟体系的传统写真。双方围绕“工”与“韵”发表各种评价。笔者继而厘清“工”与“韵”在传统中国画中的审美意义，以及西洋人如何对待“工”和如何看待中国人眼中的“韵”？“工”与“韵”虽然源于不同的艺术主张，但本文认为“工致”是“气韵”的前提和必备条件。“工”与“韵”在画家进行艺术创作之中应如何权衡，在本文比较研究后认为，我们既要警惕“保守主义”也要警惕“伪传统”。总之，中国画六法论当中的后五法，即：骨法用笔、应物象形、随类赋彩、经营位置、传移模写都是为“工致”提要求，具备了此五法，才有可能达到“气韵生动”。

The portrait of Haixi method in the early Qing Dynasty is a way of portrait expression created by the integration of Western painting and Chinese painting. There are similarities and differences between the portraits of missionaries and Chinese painters. This paper attempts to compare the differences between Chinese and Western art concepts, aesthetic positions and art forms, and explore and study the reasons for their differences. In addition, this paper combs the Chinese people's evaluation of this way of painting at that time, and makes a comparative study of the reasons for its positive evaluation and negative evaluation. In the positive evaluation, the author knows that the portrait of Haixi method complements and continues the performance of fixed viewpoint and structural modeling of Chinese painting to a certain extent, and promotes the rich elements of vision. In the negative evaluation, we know that the aesthetic and concept of Haixi method is contrary to the traditional portrait of the mature system. The two sides issued various comments around "Gong" and "Yun". The author then clarifies the aesthetic significance of "Gong" and "Yun" in traditional Chinese painting, and how Westerners treat "Gong" and "Rhyme" in the eyes of Chinese people. Although "Gong" and "Yun" come from different artistic propositions, this paper holds that "Gongzhi" is the premise and necessary condition of "Qi Yun". How to balance "work" and "rhyme" in painters' artistic creation? After the comparative study of this paper, we think that we should guard against not only "conservatism" but also "pseudo-tradition". In a word, the last five methods in the theory of six methods of Chinese painting, that is, the use of bone pen, pictographic response, coloring according to the category, management position, and transfer modeling are all requirements for "Gongzhi". With these five methods, it is also "vivid charm".