一、研究動機：後世皆有肯定，宋代繪畫具有很高的思想深度，與很強烈的生命活力。這除了與自然環境因素，及繪畫的自律性，還有繪畫者本身的師承或繪畫者的創作自主性相關外，或許與政治環境的飄搖動盪，以及朝政的更迭也有若干關係。本文嘗試將郭熙山水畫的發展思潮，分為二個階段，佐以學術、政治的變動因素，作為具體的劃分標界，來探討「繪畫」與「政治」「社會」彼此間的相互影響關係，俾有助於對宋代繪畫，作更深入的了解。 二、資料來源：本論文的主要參考書目：一、在史學方面，是宋史、明、馮琦原編宋史紀事本末、清、王夫之所選宋論三書為主。二、在畫史、畫論方面，則以韓拙山水純全集、郭若虛圖畫見聞誌、郭熙林泉高致集、鄧椿畫繼及宣和畫譜，為主要畫學與畫理的依據。三、在哲學思想方面，乃以錢穆中國思想史、范壽康中國哲學史網要，作為思想上論述的參考依據。 三、研究方法與結果：以北宋皇帝作為界分繪畫發展階段的起迄點，佐以歷史事件說明，並以圖片印證，析論北宋繪畫的發展，的確與學術、政治的變遷息息相關。

　　　　　Motivation Scholars in the later generations affirme that the deep thought and the strong vitality are embedded in the paintings of the Song Dynasty. It might be related to nature environment, self-control of painting, painter's schools or creativity. Besides, it might have something to do with the political disturbance and dynasty changing of Chinese history. In the thesis, the author try to divide the philosophy development of Kuo Hsi's landscape water-ink painting into two periods by the political and academic elements to research the mutual relationship among "Painting","Polities" and "Society" for getting more nuderstanding on the Song's painting. Literature Base Ⅰ.On history, three major books, Song-Shih, Song-Shih-Chi-Shi-Benh-Moh, are edited by Feng Chih in the Ming Dynasty, and Song-Lun by Wang Fu Chi in the Ching Dynasty. Ⅱ.On painting history and painting theory, four major books are, Shan-Shui-Chun-Chuan-Chi by Han Cho, Twu-Hua-Chien-Wen-Chih by Kuo Juo Hsu, Lin-Chiuan-Kao-Chih-Chi by Kuo Hsi, Hua-Chi by Teng Chun, and Hsuan-Ho-Hua-Puh. Ⅲ.On painting philosophy, two major books are, Chung-kuo-Sh-Hsiang-Shih by Chien Muh, Chung-Kuo-Che-Hsueh-Shih-Kang-Yao by Fan Shou Kang. Methods and Results The author analyze the development of Pei-Song's painting by dividing the emperors of the Pei-Song dynasty into different periods, explaining some historical events and proving with photos to confirm that the painting development was closely related to the political and academic elements.