本文環繞1892至1996中國歷史背景，以「晚期風格」概念為樞紐，藉以探討當代水墨畫家朱屺瞻（1892-1996）晚期創作的形成原因和特色，並提出「遊戲身心觀」以思考現今水墨繪畫藝術的歷史轉變。 / 朱氏早年專攻油畫，曾東渡日本學習，晚年以水墨為主要創作媒介，文革時專注臨摹古畫，其後風格大變，是為「衰年變法」。本文分析形成朱屺瞻晚期繪畫的歷史與人文因素，風格分期與特色，對比上海畫派的風格流變，探討朱氏作品的繼承與出新之處，並指出朱氏《癖斯居畫譚》與現代畫論的關係，綜觀朱氏繪畫的藝術史意義與人文價值。 / 引言部分縷述中國書畫藝術古代文獻中的「風格」意涵，提出個人風格與時代風格結合研究的方法，重視在歷史事實和創作者思想發展歷程中探尋「畫意」的根源，並說明「晚期風格」的定義。第一章陳述朱屺瞻早年學習油畫和水墨繪畫的經驗，及至日本進修所受到同儕影響，藉以探討留日藝術界對畫史問題的認識狀況。另外，朱屺瞻藉由早期書畫活動建立起國族意識，此意識在其晚年繪畫中得以深化。第二章分析五、十年代中朱屺瞻回應繪畫政治化與去政治化的問題，以及在寫生中參考古人技法，並運用不同的社會題材抒發個人的感思。第三章提出「勞動性」的概念分析六、七十年代中朱屺瞻如何運用老人身體顛覆英雄化的肖像繪畫，並在六法論與個人風格的繪畫研究史上，進一步深化繪畫理論的思考，為《癖斯居畫譚》的背景。另外，本文從風格上分析朱屺瞻在寫生活動中發展出運用對比色、黃藍綠合色呼應楊升沒骨山水傳統、重視日光與季節的表現，及運用文學題材。在七十年代時臨習古畫奠下晚年變法的根基，其後探索哲理題材，使格調一新。八十年代的新藝術環境底下，圖與史有了新的定義，而朱屺瞻以悼念國族的方式來抒寫戰時感懷。他於晚年通過與社會各階層的互動，確立了海派畫家的地位。本文探討賀壽活動在中國水墨繪畫中特殊文化意義。第四章評說朱氏與海派繪畫的關係與繼承，並分析朱氏的書法學習過程，紀錄他與收藏家的交流，曾到訪的美術館等文化活動。其於美國、英國、香港及新加坡等地的事蹟更促進中西繪畫的融合及國族間的文化互動，可見他在水墨繪畫「現代化」過程中的貢獻。第五章分析朱氏畫論《癖斯居畫譚》的緣起、內容和評價，審視他於晚年對「風格」概念的總結，從其理論中提出「遊戲身心觀」來分析當今水墨繪畫的精神內涵。 / 由「西畫」走向「中畫」，朱氏的創作歷程，反映八十年代，中國新藝術誕生的轉捩點，藝術家對「真實」的重構是其中一大命題。朱氏晚年創作，承載着傳統中哪些藝術觀？怎樣從現實環境中發掘內心的「真實」，開創水墨繪畫的新道路？本文嘗試縷述分析。 / By examining the historical background from 1892 to 1996 in China, this paper adopts the concept of "later style" to discuss the artistic development and characteristics of the pictures created by the contemporary painter Zhu Qizhan. The author also proposes the idea of "playfulness in body and mind" as a vision to reflect the historical change of modern ink paintings. / Zhu Qizhan studied oil painting in Japan in his early years and returned to ink painting in his old age. During the period of Cultural Revolution, he put a lot of effort on analyzing and studying traditional paintings. He successfully established his personal style after 1980s. This paper describes the historical and cultural aspects on Zhu’s late year paintings. With comparison to various creation periods, the problem of how Zhu succeeded and broke through traditional painting techniques, the reflection of stylistic change of the Shanghai School and the relationship between Zhu’s painting theory with the modern one are being elaborated. The author tried to give an account for Zhu’s contributions to the Chinese art history and cultural value. / The preface tries to explain "style" in terms of ancient texts of Chinese painting and calligraphy, and proposes to combine the analytic method of individual style and period style. It stresses on tracing the historical fact and the mind development of the artist in order to define "later period style". Chapter one describes Zhu’s experience on learning oil painting and ink painting in his early years, and the influence of peer during his study in Japan so as to explore the common concerns and general problems on painting history at that time. Besides, Zhu Qizhan established the concept of nationality during his early writing and drawing activities and reinforced this concept in his late years paintings. Chapter two analyzes Zhu’s response to the politicalization and depoliticalization during 50s and 60s period. He interested in the techniques from the ancient paintings, and applied them to various social themes in order to express his personal feeling. Chapter three proposes the concept of "labour" to explain how Zhu Qizhan used the body of old man to redefine heroism in figure paintings. He developed his own painting theory on the basis of theory of six principles of painting and the research of painting history of individual style. The publication of Pi Si Ju Hua Tan summarized his thoughts. Moreover, this article analyses the aspects of using contrast color, the combination of yellow, blue and green colors as the echo of Yang Sheng’s "mo-ku" landscape tradition, the emphasis of light and season and the use of literal theme in Zhu Qizhan’s life paintings. During the 1970s, Zhu built up a firm foundation for late year’s reform by imitating ancient paintings, after that, he tried to develop a new style through his exploration based on philosophical themes. In the 1980s, the new definition of picture and history arose, Zhu Qizhan expressed his grieve of war period and mourn for the nation under the new artistic environment. He interacted with different social stratum and established his position as a Shanghai School painter. This article discussed the cultural significance of birth celebration activities in the circle of Chinese ink painters. Chapter four comments on the relationship and succession of Zhu and Shanghai School by analyzing the learning process of Zhu’s calligraphy and recording his interaction with collectors and the experiences gained from visiting museums. His visit to America, Britain, Hong Kong and Singapore accelerated the integration of Eastern and Western paintings and the cultural interaction between different nations. This was part of his contribution during the process of "modernization" of ink painting. Chapter Five analyses the background of Zhu’s painting theory Pi Si Ju Hua Tan and introduces its content and comment. It summarizes Zhu’s viewpoint on "style" in his late years, and uses the concept of "playfulness of body and mind" to analyze the possible spirit inside contemporary ink paintings. / Zhu’s creation experience reflects the turning point of Chinese art in the 80s. The struggle of Western and Eastern art has never been stopped. The definition of "reality" is one of the prominent propositions. In Zhu’s later paintings, what are the elements constituting the traditional art value? How did he express the "reality" in his mind and engaging in the new path of ink paintings? This paper tries to solve these problems by focusing on the modern historical context. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 戴淑芳 = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 293-332). / Abstracts also in English. / Dai Shufang = Study of Zhu Qizhan's (1892-1996) late years paintings / Tai Suk Fong.