鹿港郭氏家族於日治時期之前，就以從事專業的彩繪工作聞名於臺灣中部地區，其作品技術純熟，風格細膩典雅，目前後代雖已無人繼續從事彩繪工作，惟無損郭氏家族對臺灣傳統建築彩繪的貢獻。　　 本文主要以郭氏家族於1866 年至1958 年期間，所遺留厝屋彩繪作品中之人物圖像為主要研究對象，透過田野調查及文獻比對的主要研究方法，探討郭氏人物圖像的主題、題材及圖稿之來源。內容包括：(1) 調查鹿港郭氏於1866 至1958 年間的厝屋作品、籌建者之背景資料及彩繪人物主題。(2) 歸納人物圖像之題材。(3) 探究人物圖像之圖稿來源及其運用。　　 透過上述三個面向的研究後，本文認為，郭氏人物作品的主題僅少數會針對厝屋主人之背景、彩繪目的而有特定象徵意義的主題出現，而在作品的呈現上雖然承襲自傳統的畫譜圖稿，但能夠隨繪圖需求以及個人對主題的認知而有自己的表達方式，並非流於機械式的模仿，顯示具有良好的技藝價值。此一成果除了可逐步建立臺灣建築彩繪的派別特色外，亦能作為傳統建築美學之基礎研究。

The Kuo clan has been well known in central Taiwan for their professional painting works prior to Japanese colonial rule in Taiwan. Their painting works are highly skilled and have a delicate and elegant style. Although none of Kuo clan’s descendants currently continues to take up painting work, the Kuo clan’s contributions to Taiwan’s traditional house paintings are still extraordinary. This article is to study the human figures in the house painting works by the Kuo clan from 1866 to 1958. We have undertaken a field study and literature comparison to investigate into the human figures’ themes, contents, and sources. Three dimensions are included: (1) to investigate into Kuo clan’s house works from 1866 to 1958, the founders’ backgrounds, and the themes of the human figures in the paintings; (2) to conclude the contents of the human figures; (3) to investigate the sources and applications of the model paintings or drawings for the human figures. By investigating the above three dimensions, we believe that not many of the Kuo’s human figure works have specific themes that emblem the house owners’ backgrounds or the purposes of the paintings. Although the works have adopted traditional model paintings, the works have their own personal styles but are not literal imitations. These works require valuable art skills that can establish characteristics of a Taiwan’s house painting school and form a foundation of architectural esthetics.