這篇論文主要探討中國古代之畫論、傳統思想，乃至福建民俗繪畫的發展情形，並將分析的重點放在明清時期設計美學德論系列上。透過系列的分析推論，本研究提出以下的重要發現：其一，設計美學德論的核心議題在於：「造形」的性能表現。換句話說，所謂「造形的性能表現」就是在追究意象如何真實化？如何達到「栩栩如生」的效果。其二，設計美學德論在發展上有三個階段。首先是先秦時期的比德說，也就是將藝術品的德性比附於人的德性（創作者的德性）或特定地區的風俗。其次，到了漢、唐、宋時期，以陰陽五行理論為首的一些原理、原則轉化為設計美學德論的重要內容。再次，到了明、清時期，許多塗彩與繪畫線條的技法融入設計美學德論中，成為設計美學德論的實用原則。其三，明清時期福建與浙江都出現眾多在籍的傑出畫家。但是，如果只就民俗繪畫而言，清朝一代唯一傑出的畫派就只有福建派（或閩派）而已。

This study investigated painting commentaries, institutional commentaries, and furter provided explanations about Fujian folk painting commentaries during this period of time. To summarize various issues concerning aesthetics and design aesthetics in the Ming and Qing Dynasties. This study pointed out several important aspects as follows:1. Most important issue on design virtue aesthetics is the performance of ”form making”. Just we can describes ”performance of form” as ”process about realization of virtual image”.2. There has three stage on the development of ”design virtue aesthetics”: virtue of art just like virtue of human or viture of a specific folk in Zhou and Qin Dynasty; viture of art or the some principle of ”form making” is the transformation of The diecourse of Wu Xing (陰陽五行理論) in Han, Tang and Song Dynasty; there are some technigues of painting and drawing as the principle of ”design virtue aesthetics” in Ming and Qing Dynasty.3. There are so many outstanding painter on Zhejian and Fujian in Ming and Qing Dynasty. As we scope in folk painting, there are only Fujian style but others in Qing Dynasty.