「流派紛呈」是京劇繁榮的標誌，流派藝術突出的是表演的個人風格，是京劇藝術個性化的成果。然而弔詭的是，流派同時也限制了個性，在流派傳承系譜裡，所有的傳人都以開派宗師為模擬對象，各傳人自身的特質只能容許極些微的體現，而且傳人對宗師的學習不僅在唱腔藝術，更在整個人生態度，「突出個性、」與「生命風格的複製」之間，形成流派藝術與京劇發展值得討論的一項議題。本論文擬以余叔岩、孟小冬師徒關係為切入點，並以余的另一弟子李少春為對比參照，突顯京劇傳承與創新兩種路向。但本文重點不在比較傳承或創新何者重要，重點在對於京劇界公認的「理想師徒」余孟關係，進行文化精神史的觀察。〈我是來看余叔岩的〉一節論余孟之傳承以及京劇觀眾看待這對師徒的態度，〈另一個人生舞台〉一節論余叔岩另一弟子李少春學余的態度及他對京劇的開創。在對兩位弟子不同的藝術及人生走向做對照後，接下來一節深入討論余派之形成及其文人氣韻（即是余叔岩的生命風格），才能更加體會余孟傳承的意義。〈生命風格的複製〉一節通過孟小冬藝術及生命歷程的仔細檢視，析論孟在情感與戰火波折過程中，終其一生對余派追摹嚮往，從藝術的模擬直深入筋髓，甚而至於生命風格的複製，由此對於京劇流派的人文意蘊提出闡發。

The variety of artistic styles marks the prosperity of Peking Opera. An artistic style emphasizes the idiosyncrasies of a master; this is the result of the personalization of the art of Peking Opera. Paradoxically, the artistic style simultaneously confines the personal styles of its disciples’ performances. In the genealogy of Peking Opera styles, disciples of a specific style not only imitate song and acting performances of the founding master, but also follow the master’s attitude towards life. Whether to “present one’s own personality” or to “reproduce the master’s lifestyle” is a controversial issue in discussions of the artistic styles and development of Peking Opera. This paper focuses on the master-disciple relationship between Yu Shuyan and Meng Xiaodong. Li Shaochun is mentioned in order to contrast two different orientations in Peking Opera performers: traditionalism and innovation. It is not my purpose to demonstrate whether traditionalism or innovation is superior, but I would like to make a cultural historical analysis of the so-called “perfect master-disciple relationship” between Yu and Meng. The section, “I am coming to see Yu Shuyan” discusses Meng’s inheritance of Yu’s art and the attitude of the audience toward the relation of Yu and Meng. The section, “Another stage of life” elaborates Yu’s disciple Li Shaochun’s attitude to Yu’s art and his innovation in Peking Opera. Having contrasted the opposite orientations of Yu’s disciples, the following section probes into the shaping of the Yu style and its literati nature, namely, Yu’s lifestyle. This helps us understand the significance of the master-disciple relationship between Yu and Meng. The section, “Imitation of lifestyle” examines Meng Xiaodong’s personal and artistic life, and analyses Meng’s lifelong pursuit of the Yu style throughout her entire career, even through her marital difficulties and wartime experiences. She carries the imitation of the Yu style from performances to her own lifestyle.