本文的研究起點，認為儒家的倫理思想對於藝術創作與鑑 賞產生極大的影響，這個結果不只形塑了儒家的美學觀，也連帶地影 響後世的繪畫美學。 為了確立這個觀點，本文嘗試從原始儒家的重要典籍《易傳》與《論 語》分別各找出相關的兩個美學命題：「觀物取象」，「修辭立其誠」， 「仁智之樂」（比德），「依仁游藝」四個命題，先行予以分析其美 學意函。其次，本文分別從四位魏晉以下的畫論家：宗炳、張彦遠、 郭若虚和郭熙，從其所留傳的畫論文獻中找出「德一藝」關係的建立。 經過本研究的歷程，我們認為在中國古代繪畫作品與繪畫理論之 中，確認了「人品」與「畫品」的關聯性，如此標示出中國古代繪畫 及其相關理論的特徵。

This article sets out from the idea that Confucian ethics had enormous impact on the creation and appreciation of arts, which not only shaped the Confucian aesthetics but also informed the subsequent aesthetics of painting. To establish this view, here we try to find two aesthetic propositions respectively from two important Confucian texts, Yi Zhuan and Analects — abstracting its forms from nature-observing, making rhetoric on the basis of sincerity, comparison and sticking to benevolence—to analyze their aesthetical meanings. Then, we will try to establish the relationship between “morality” and “arts” through the documents about the theories of painting by four painting theorists from the periods following the Wei-Jin Dynasties: Zong Bing, Zhang Yen-yuan, Guo Ruo-xu and Guo Xi. Through this study, we believe that the connection is confirmed between the painter’s character and the painting’s character in ancient Chinese works and theories on painting, which characterizes ancient Chinese painting and its related theories.