本論文希望透過研究中日文人畫的理論差異與筆墨差異，詮釋相同對象在進行文化移植之際所產生的轉譯課題。本論文藉由文獻之收集，進行資料分析、解釋，詮釋文人畫在中國、日本文化中的共通性與差異性。本論文主要以董其昌《畫禪室隨筆》以及日本文人畫理論大成之田能村竹田《山中人饒舌》等相關著作。我們將比對兩方面文獻，就其中的相同、差異進行系統分析，就分析結果進行解釋。在方法學上，本論文採用Dagobert Frey的比較藝術學之方法論，藉此方法學進行比較研究。希望此一研究成果對於比較藝術學之研究基礎學以及對於文化轉譯之課題，獲得積極成果。除此之外，本研究也能有助於中國文人畫之發展以及精神史之考察，其結果將可作為美術史研究基礎之奠定。

Through the comparison of theory and Technical approach between Chinese literati painter and Japanese literati painter, this thesis wants to interpretation the different cultures of the same object how to construct a cultural transplant. Basically, this thesis wants to do the analysis of these documents which is collected. Thus we interpret the commonalities and differences between Chinese literati painting and Japanese literati painting.We will select the basis documents to research. These documents had a great influence for literati painting in China and Japan. These documents are Hua-chan-shi essays by Dong Qichang and Shantyujin-jyouzetsu by Tanomura Takeda. We will compare and analyze the two countries documents with system analysis method. The analysis results will be explained. In the methodology, we will use the Einer vergleichenden Kunstwissenschaft by Dagobert Frey. We interpret the commonalities and differences on the literati painting in Chinese and Japanese culture.