人文與美學的關係，可以從許多角度來觀察。有是由人文主義的發展來看的。 西方人文主義之傳統，可有不同之理解，但文藝復興時期揭揚之人文主義精神，大體上已是討論「什麼是人文精神」的具體模型。在文藝興時期，藝術發展更是其人文主義的主要表現。而在中國情況恰好相反，高談文藝復興、人文主義卻對藝術不甚注重。藝術在人文主義教育中之重要地位，完全喪失了(本文舉臺灣教育體系中具體狀沿，說明這一點)。在藝術界這個小圈圈裡，則以理代主義為主，有非人化的傾向，亦不重視人文精神，其倡言繼承或發揚古人文經神者，則貌襲為多，人文精神實僅不絕如縷。 少數人文主義學者，對美學與藝術之看法亦不一致。本文以當代新儒學為考察對象，認為牟宗三反美學、徐復觀是超越人文的美學，只有唐君毅企圖開展一條人文主義之路。未來臺灣人文與美學若要賡續發展，應注意此間分判。

The relationship between the art and humanities can be observed from many aspects. The article examines this relationship based on the development of humanities. In western tradition, there are various understanding of humanities. At the age of Renaissance, people had already developed the spirit of humanism, which generally talked about the concrete concept of "What is the spirit of humanities?" In this period, the forms of art represent this kind of spirit. In China, the situation is just on the opposite of the west. Chinese always talked about humanism, but they really didn't put much emphasis on art. The importance of art in humanism education is totally ignored. (In the article, this can be illustrated by current circumstances on education of Taiwan). In the small circle of art, the mainstream here is modernism and is inclined to non-humanizations. In fact, people put little emphasis on humanism. Those who encourage inheriting or developing the spirit of ancestors is just boasting in their appearances instead of really focusing on the content. The spirit of humanities is actually more than its appearance. Seldom humanists have different opinions on aesthetics and art. The article has the evaluation of modem neo-confucianism philosophers. Mo zong-shan is the one that against aesthetics, Shu Fu-guan is the one that is beyond the aesthetics, only Tang, Jen- Yi tries to open a new way for humanity aesthetics. In the future, if we want to continuous development of humanities and aesthetics, we have to pay special attention to those differences.