遊戲與藝術的密切相關，是一個近代以來在藝術哲學上熱門探究的課題。朱光潛對藝術起源於遊戲的理論採取偏向藝術心理學的進路進行研究，強調從行為與意識活動來解釋遊戲與藝術的發展。當代中國美學研究在接受西方美學思潮的影響過程，朱光潛的美學思想是一個先驅者的角色，影響極為深遠。本文主要以《文藝心理學》裡關於「遊戲」與藝術起源之關係的論點，作為探究的基本材料與問題的出發點。然而，當代對於藝術起源於遊戲的理論基礎不只倚賴心理學進路，從其他哲學理論出發的學說亦有另一番風景的展現，而這正是朱光潛當年論著時所尚未發現的部分。本文從分別從「模仿和創造」，「佯信與偽裝、表現」，「自由」三個課題對照朱光潛與高達美的遊戲理論，借鑑高達美的遊戲理論以充實我們對遊戲觀念在美學理論中的可能幅度。本文分四部分：壹、前言，說明問題的起源；貳、以「遊戲」作為藝術起源論的心理學向度，整理朱光潛對藝術起源於遊戲的理論；參、「遊戲」自身的存有學向度，以高達美的遊戲理論對比朱光潛的遊戲理論；肆、結語。

The close relationship between plays and arts is a topic intensely discussed in the philosophy of arts. Regarding the theory of arts originating from plays, Zhu Guang-qian tended to approach it through the psychology of arts, explaining the development of plays and arts through human behaviors and the activities of consciousness. During the process of receiving western aesthetics, Zhu’s aesthetics was a pioneer in the contemporary Chinese studies about aesthetics, making profound impact. This inquiry we make in this article is based on the theory of plays and the origin of arts as found in Psychology of Arts. However, the contemporary theory of arts originating from plays is not only founded on psychology. We can have other insights while approaching it through other philosophical theories, which is exactly what Zhu theories missed back then. In this article, we compare Zhu’s and Gadamer’s theories of plays in terms of “imitation and creation,” “make-belief and disguise, expression” and “freedom,” substantiating the possibility of the concept of plays in the theories of aesthetics by referring to Gadamer’s theories of plays. This article is divided into four parts: first, explaining the origin of this topic in the foreword; second, inquiring the psychological dimension of Zhu’s theory about arts originating from plays; third, the ontological dimension of “plays”; and fourth, the conclusion.