本文企圖從人物畫家李霞繪畫題材與畫面結構分析年畫與戲曲對於李霞的影響。 　　活躍於20世紀初的福建仙遊畫家李霞，經遊歷與各地人士接觸，所作人物畫氣勢道勁雄健，除受揚州畫派黃慎啟迪甚深之外，有鑒於人物面部以工筆刻畫描繪，與作畫程序以先畫就輪廓後加以施彩而論，有論者提出受到錢慧安等京津版畫影響。本文首先回顧清代閩派繪畫概況後，再探討李霞繪畫中與年畫主題、題材、體裁，和地方戲曲故實之間的關聯。最末章對於李霞繪畫的戲劇效果以包含三人以上的群像與個人人物畫等個別作品為例討論之。 　　李霞從畫作中所彰顯的是繪畫可以超越個人的目的，而透過民間藝術的層次發揮更大的影響力。即便這樣的影響力必須經過市場機制因素來傳遞。然而真正歷久不衰的藝術與文化正是能夠因應民間豐沛的生命力與創造力來完成。從李霞的作品上，此點得到鮮明的印證。

　　The author attempts to analyze and discuss the possible influence from the Chinese new-year prints and opera towards the figures paintings by Li Xia. The analysis is based upon Li Xia's subjects and the composition on the painting. 　　Li Xia, born in Shienyo, Fukien and active in the early 20th century, been traveling among different cities in the South and North, his painting's style is powerful and vivid. Apart from inspired by the Huang Shen of the Yangzhou School, there was a supposition that he may also be influenced by the print designer Chien Huei-An and the prints made in Beijing and Tienjin. Beginning with a retrospective of the Fukien School in the Qing dynasty, the author explores the connection among the Chinese new-year prints' themes, subjects, forms, the Chinese opera and Li Xia's painting. The last chapter discusses the theatrical effect expressed on Li Xia's several works, including group and individual figure paintings. 　　Li Xia's paitning is an example that the art surpasses the individual's motif and achieves a better influence through the level of folk art, though such influence may be conveyed through the market factor. However, art and culture that endures through times is only accomplished though the bundant energy and creativity of the public, which is indeed proved by Li Xia's artworks.