豐子愷(1898-1975)是一位多才多藝的藝術家。1914 年，他進入浙 江省立第一師範學校就讀，李叔同(1880-1942)是他的繪畫、音樂教 師。本文先分析豐子愷走上畫家之路，最重要的契機乃李叔同的鼓 勵；其後就豐子愷描繪弘一法師的作品中，歸納法師特重人格修養， 「士先器識而後文藝」、「藝術以人格為先」的觀念影響豐子愷對藝術 的看法。豐子愷皈依法師成為佛教徒，因此在散文作品中，佛教思想 為其底蘊；師生合作出版《護生畫集》，更傳為佳話。本研究除了發 現，豐子愷諸多承襲法師之處，連自喻為「鶴」亦與法師相同。另外 豐子愷描寫弘一法師的作品，與一般對法師記實的文章有很大的不 同：他注意彼此互動的細節，這使得書面素描的人物展現出立體化效 果，這是他的文章成為研究弘一法師重要參考資料的原因。

Zi-Kai Feng(1898-1975) is a versatile artist. In 1914, he entered Zhe-Jiang Provincial First Normal College and Shu-Tong Li was his teacher of painting and music in the college. Afterward, the two men began a deep interaction that is both a friendship and a teacher-student relationship. This paper first analyzed how Zi-Kai Feng became a painter. The most important key is the encouragement of Shu-Tong Li. Long after, Zi-Kai Feng described that the works of Hong-Yi Fa-Shi especially emphasized in characteristic building. The teacher’s moral “First characteristic, then arts” also became Feng’s lifelong rule.Feng’s works in which described Hong-Yi Fa-Shi are very different from other articles describing Fa-Shi. In surmising his reason of becoming a monk, Feng proposed a theory of “three floors”. In describing Fa-Shi’s works, Feng did not record Fa-Shi’s hardship as a monk but emphasized on the details of their interaction. This makes the person who is described in the words becomes three-dimension. Therefore, Feng’s prose in portraying people becomes valuable and important references in biographical literature.