台灣有獨特的歷史背景，在經過明清時期中原水墨文化影響，及日本殖民文化入侵，後來又經國民政府遷台，帶來以正統自居的傳統水墨。不同的文化，在這塊上地上融合發展。本研究主要分析台灣光復後1945至2005年問，創作水墨人物畫獲得國家文化資料庫、台北市立美術館、數位典藏及數位學習網蒐集之畫家作品。將作品建置成資料庫，分析題材內容、空問表現、媒材運用的表現風格，研究台灣光復後水墨人物畫的風格表現。 本研究題材內容方面分析，發現以現代人物生活爲主題的畫作增多，傳統仕女及歷史人物、道釋人物的畫作逐漸減少。空問表現技巧以傳統爲主，加入西方繪畫的表現手法，逐漸自由而且多元化。媒材由傳統水墨，慢慢加入新的材料，增加許多西方繪畫元素。在水墨人物畫創作作品中，並沒有完全脫離傳統觀點和技法，而是以傳統水墨基礎爲主，帶入西方的藝術觀念而創新。

Due to the unique Taiwanese historical background, ink figure painting in Taiwan had been infuenced by the ancient Chinese raw ink painting concept through both the Ming-Ching Dynasty and Japanese colonial days when the National government moved to Taiwan. It also brought the so call” The Legitimate Chinese Ink Painting” to this land. This research will discuss three periods above in which the ink figure painting developed in Taiwan. It will focus on the paintings which were done from Taiwan recovery in 1945 to 2005 and now are collected and kept by the national culture information bank, the Taipei municipal art museum and the Digital Learning Network. These paintings have been analyzed through different aspects such as subject materials, special performance, intermediary material technique, and style. The research also studies the development and those factors which have made signifinence on it. In subject materials aspect, it is found that the subjects of modern life were increasing while the subjects of traditional attendant, historical personage, and road release character were decreasing. In special performance aspect, although the traditional technique plays the key role, the art style became diverse and loose due to the involvement of western painting technique. In intermediary material technique aspect, it shows that the traditional ink figure painting are joining gradually with western painting skills and concepts. In the ink figure painting creation work, has not been separated from the traditional viewpoint and the technique completely, but by the traditional ink painting foundation primarily, leads West's artistic idea to innovate.