本文對元好問現存近二百首題畫詩進行分類的研究，從中抉發其沿革傳統的諸多特徵。其山水類題畫詩通常引入個人回憶和感想，並在杜甫的基礎上發展一種進入畫面的想像性視角；其故實類題畫詩經常繞過圖畫，展開獨特的議論和嚴肅的道德思考；其人像類題畫詩充滿自我的反思和期許，並思考士的出處問題；其狀物類題畫詩強調繪畫物象的寓意，正如詠物詩一般。本文進而指出元好問在批評畫家的諸多言論背後的意圖，以及他建立繪畫與其收藏者的聯繫所包含的對繪畫本質的認識。本文的結論是，在元好問的題畫詩中，詩歌與繪畫在「言志」的古老傳統中達成殊途同歸的關係。

In this paper I categorize around 200 poems written by Yuan Haowen as inscriptions on paintings, with an aim to discover how he continued and developed the poetic tradition. I argue that his poems on landscape paintings incorporate personal memories and thoughts, and often approach the painting from an imaginary visual angle reminiscent of Du Fu's poetic style; that his poems on historical paintings are composed of unique remarks and serious meditation upon morals, without direct mention of the painting itself; that his poems on portraits are full of self-reflection and self-expectation, often meditating on the scholar's choice about reclusion and engagement; and that his poems on paintings depicting objects usually have an emphasis on implied meanings of the object painted, such as is the case with object poetry. I also point out Yuan Haowen's purpose behind his criticizing some painters, as well as his perception of a painting and the connection the collector of the painting has with it. My conclusion is that his poetry and paintings both tap into the ancient tradition of "expressing one's mind."