何良俊是明代嘉、隆年間松江的著名學者，他的《四友齋叢說》提供許多明代中期的 寶貴資料。其中書論、畫論、曲論都曾被單獨輯出，可見其具有一定的參考價值；然 一般學者對《叢說》的關心，多止於與自身學科相關的部分，難有全面性的了解；有 鑑於此，本論文即以《叢說》為對象，並輔以《何翰林集》、《書畫銘心錄》，試圖 將何氏其人其書的整體風貌呈現出來，並期望藉此喚起學者對筆記小說的重視。共七 章，約十五萬字。 第一章先述何氏所處的時代背景、時代潮流，並對他的家鄉松江府作一簡介。第二章 介紹何氏的家也、生平及交遊。第三章述《叢說》的版本、成書，及前人對它的引用 、評價，並將全書的重要參考價值歸納為十項，逐一舉例說明。 第四章探討何氏的書畫理論。何氏論書以王羲之、趙孟頫為正傳，此後則推重文徽明 。論畫則將畫家的「人品」置於繪畫技巧之上，因此他欣賞「筆力神韻並備」的「正 脈」文人畫家。此時的畫壇，吳派文人畫家及畫論，在與浙派競爭的過程中逐漸取得 優勢。而由於與文徽明的長期「相與評論」，及與蘇州文人畫家的密切交往，使得何 氏的畫論成為吳派畫論的早期代表作之一；畫論中的隻字片語，都成成了解當日實況 的蛛絲馬跡。 第五章探討何氏的戲曲理論。何氏曲論的基本主張，為「格律論」及「本「色論」。 「寧聲□而辭不工，無寧辭工而聲不□」的「格律論」，成為沈璟吳江格律派的先驅 。而要求蘊藉、簡淡、清麗的「本色論」，也具有一定的時代意義；其中崇《拜月》 而抑《琶琵》的論點，更掀起明末曲壇的極大論戰。 第六章探討何氏的詩文理論。在詩文方面，明代嘉、隆年間，正處七子派、唐宋派江 南傳統清麗詩文三派相互較勁之際，何氏雖對三派採取並容並蓄的態度，但基本上乃 是以江南傳統清麗詩文為主。由《叢說》中的記載，一方面透露何氏個人的詩文見另 一方面也反映出當時詩壇的實況。第七章結論。

This thesis looks into the development of Songjiang School in the context of mutual interaction and networking among painters. It focuses on two phenomena. Firstly, it studies the interaction between Songjiang School painters and artists from various Jiangnan art centres. Secondly, it explores the artistic genealogy within the Songjiang School. It investigates the activities of individual Songjian School painters in particular, and the rise and decline of the entire Songjiang School in general. / Under the famous master literati Dong Qichang, Songjiang School painters broke new path in landscape painting, valuing moist ink tones at the expense of brush and ink. But even before Dong, Gu Zhenyi and Mo Shilong were already well known for their efforts in exploring new styles. Supported by brilliant art talent such as Chen Jiru, Zhao Zuo and Shen Shicong, Dong Qichang brought the Songjiang School to its zenith. However, it was also Dong Qichang who dug the grave for the School. As Dong's followers were mostly professional painters, they could not stand as equals to Literati connoisseurs. Some became Dong Qichang's ghost-painters at the expense of their artistic individuality, whereas others were trapped in the lower end of the art market. Consequently, the Songjiang School lost its vigor and prestige in the Qing dynasty. Only Dong Qichang, the leading master of the School, could dominate the literati painting scene. / With its economy revived after the suppression of the wako invasion in late Jiajing period (1522-1566), Songjiang quickly reassumed its dominant position in the art scene. Songjiang School painters became very self-conscious and proud of their own hometown. They succeeded in networking with connoisseurs in Zhejiang and Huizhou, and learning valuable lessons from the works of their Suzhou counterparts. Consequently, although both the Wu (Suzhou) and Songjiang Schools were descendents of the same literati painting tradition, the Songjiang School loomed large throughout the sixteenth and seventeenth centuries. The social prestige of some Songjiang literati certainly enhanced the success of the School. / 徐麗莎. / 呈交日期: 2005年8月. / 論文(哲學博士)--香港中文大學, 2005. / 參考文獻(p. i-x (2nd group)). / Cheng jiao ri qi: 2005 nian 8 yue. / Advisers: Jao Tsung-i; Harold Mok Kar-leung. / Source: Dissertation Abstracts International, Volume: 67-07, Section: A, page: 2355. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (p. i-x (2nd group)). / Xu Lisha.