「傳統」與「創新」的關係，自古即是藝術文人的重大課題，清代以來，這個問 題又與「文化融合」的問題交纏，狀況更形複雜。中國人對這個問題的主張或有較理性者， 但也不乏泥古、疑古、崇洋、排外�獶齔奶ㄩ犰釆籅漱狨部C在此氛圍中，張大千、溥心畬、 黃君壁三家積極「開發」傳統，進而拓展新局的成就，特別值得重視。 　　本文分四部份探討張、溥、黃三家對「傳統」與「創新」關係的處理： 第一章討論三家的治藝模式。三家重視藝術家讀書修養的工夫和人格的發展；「臨摹」 與「寫生」並重，兼學古人筆墨意境與自然情態；並且突顯了中國繪畫語言「筆墨」與形象 思惟方式之關係的問題。 　　第二章討論三家「如何」評價傳統，又開發了「什麼」傳統。列舉三家各自開發的傳統 之內容，可以發現三者相互補充，對於唐朝以來各代各派的繪畫傳統，有全面性的開發，又 能融合域外傳統。 　　第三章討論三家繪畫的基本筆墨結構。筆墨結構也有其語彙、句型和文法，從這個角度 ，可以建立三家繪畫的語言結構與「勾勒重彩」、「沒骨」、「工筆」、「寫意」�獶齔孕j 代繪畫語言的承變關係，並且肯定：張、溥、黃三家創出了屬於當代的「面與線，色與墨」 交響的新筆墨結構。 　　第四章討論三家繪畫的表現問題。三家繪畫題材廣泛，囊括山水、人物、花鳥、畜獸各 類，與「臨摹」和「寫生」範圍的廣泛互為因果。三家以新的體會和手法創造新的意境，既 有詩、書、畫合一的深蘊，又有鮮活的現代感知。 　 　

　　　　　The relationship between "tradition" and "innovation" has been a major issue in art and culture for centuries. Since the Ch'ing period, this issue has also become interwoven with the question of "cultural assimilation" to produce an even more complex situation. While some Chinese have taken quite a rational view of the issues involved, there have also been a raft of more immature reactions including those of being mired in the past, casting doubt on antiquity, worshipping all things western, and rejecting all things foreign. Within this context, the achievement of Chang Dai-ch'ien, P'u Hsin-yu and Huang Chun-pi in actively "developing" tradition and opeining up fresh avenues is particularly worthy of attention. The present paper, which consists of four parts, sets out to explore how these three artists handled the relationship between "tradition" and "innovation". The first section discusses the three painters' models of artistic study. To all three it was of utmost significance for the artist to devote time to reading and inner cultivation, and to the devleopment of his personality. They considered copying form exemplars and painting from the life to be equally important, as enabling them to learn from earlier artists' mastery both of brush and ink and of evocative atmosphere, while also learning to appreciate the ways of nature. They also highlighted the question of the correlation between Chinese painting's language of "brushwork and ink texture" and its modes of thinking about imagery. The second section discusses "how" these threse three artists evaluated tradition it was that they developed. Examples are given of traditional material developed by each of the three painters, showing how the three were mutually complementary and thus made possible a comprehensive development of the traditions of various schools of painting of different periods begining with the T'ang period. They also succeeded in incorporating external traditions. The third section discusses the three painters' fundamental brush and ink structures. Brush and ink structure also has its own vocabulary, sentence patterns and grammar, and from this angle it is possible to establish the degree of correlation between the language structure in the paintings of these three artists and centuriesold languages of painting such as "outline and colouring," "boneless painting," "meticulous-brushwork painting," and "impressionistic painting." It is acknowledged that these three masters created new brush and ink structures based on convergence of "surface and line, colou and ink" which are wholly contemporary. The fourth section discusses the question of expression in the painthings of these three artists. All three painters encompassed an extensive range of subject-matter, including landscape, figures, flowers, birds and animals, with a wide range of resonance between "copying from exemplars" and "painting from the life." All three artists used new insights and methods to create new artistic concepts which both integrate poetry, calligraphy and painting and celebrate fresh modern perceptions.