宋代在文學和繪畫的發展上出現前所未有的繁盛局面，對內，在上位者提倡和科舉的擴大，直接的推動書畫藝術在民間的普及。在外，又具有絕佳的地理環境，使得文學和繪畫產生了更高的美學價值。題畫詞在宋代開始萌芽發展，有獨特的寫作動機、寫作內容及寫作技巧。雖然兩宋題畫詞作，北宋題畫詞的數量較少，直至南宋，題畫詞的數量才有明顯的增加，也由於北宋題畫詞數量的稀少，容易造成研究上的侷限，但在宋詞的發展上還是有其研究價值存在。所以本文擬論兩宋題畫詞，北宋以蘇軾及蘇門學士和文人畫集團為主，南宋則以南渡詞人和風雅詞人為主，分為題材內容、寫作技巧和內涵情感三部分來比較兩宋之題畫詞

The development of literature and paintings achieved an unprecedentedly flourishing prospect in Song Dynasty. Internally, such development was promoted by the super-ordination and spread by the imperial examination, which directly boosted literature's and art's popularity in civil society. Externally, due to the superiorly good geographic environment, higher level of aesthetic value of literature and art was generated. The development of Ci inscribed on paintings, which was characterized with unique composing motivation, content and skills, had sprouted since Song Dynasty. In spite of fewer quantity of Ci on inscribed paintings in Northern Song Dynasty, Ci inscribed on paintings' amount increased apparently in Southern Song Dynasty. Although the scarce amount of Ci inscribed on paintings in Northern Song Dynasty tended to result in limitation of research, the research value existed in development of Song Ci. Therefore, this research intended to concentrate on the Ci inscribed on paintings in Northern and Southern Song Dynasties-- Su Shi, Su School Scholars, and literati painting group were the representative in Northern Song Dynasty, while in Sothern Song Dynasty, botha Nandu and literary/refined Ci-composers were the focus. Through three parts; that is, subject and content, composing skills, and emotional connotation, this research compared Ci inscribed on paintings in Northern and Southern Song Dynasty