創作研究在當前國外大學藝術教育學界乃日益受到重視之議題，且當代藝術創作與藝術教育領域亦正著重精神性全人理念之探討，然而國內在此方面探討之文獻側相對地有限。關於全人藝術創作研究，大學與研究所學生在藝術學習過程中易感到缺乏藉以自我引導之適切概念架構，且或許因未充分熟悉創作研究之理論與進行方式，故藝術學習往往停滯不前，甚至只能在有限概念下作慣性反應、或進行無深刻感情意義之技術表現，乃至將不知其所以然之表現視為無法言喻之藝術境界而自滿。此外對實務與理論、技術與概念，具因而影響其藝術之發展。為增進藝術創作主體之全人發展，提昇藝術創作研究能力，本文擬探討其學習與發展途徑之概念架構，具體而言，本文之目的包括：（一）闡明藝術創作研究之關係，（二）分析藝術主體與創作之動力因素，以及（三）闡明藝術創作研究中主體之發展與學習方法。（四）分析研究生依前述原理與方法之發展與學習情形。本文除澄清前述相關問題外，亦發現經由前述之學習途徑，研究生個案呈現兩方面之特性：（一）能透過自我、藝術、文化與生態及其關聯層面之探討，而增進藝術與人生觀之廣度與深度；以及（二）更能運用審美精神性（aesthetic spirituality）之智能（intelligences）與藝術之智慧（artistic wisdom）於創作與生活，且更具精神性與全人發展之特質。

Recently, more and more emphasis has been put on research in art production or art-based research in university internationally. Besides, spirituality-oriented holistic approach is currently valued in the fields of art production and art education. However, these aspects of studies or literature are relatively few in Taiwan. Concerning holistic research in art production, graduate and undergraduate students tend to feel the need of a relevant conceptual framework for guiding self in their learning process. Inadequate understanding of the theories concerning research in art production or art-based research often causes the difficulties in their related art learning, resulting in repeatedly habitual responses in art creation, skill-oriented expression without deep impression or meaning, or even mistaking the confusing as the ineffable. In addition, the misconceptions of the duality between practice and theory, technique and conception, or feeling and knowing often hinder them from sound development in subjectivity, authentic creativity, and hence in art. For enhancing holistic development of the subject in creation, ability in conducting research in art production, this article attempts to inquire into the conceptual framework on an approach to holistic learning and development of the subject conducting art-production research. Specifically, the objectives of the article are: (a) to interpret the relationship between art and theory; (b) to analyze the dynamic factors among the subject and his/her art production; (c) to clarify the method for learning and development of the subject conducting art-production research; and (d) to analyze the development and learning of graduate students utilizing the above-mentioned principles and method. In addition to clarify the issues raised in the article, two aspects of characteristics are revealed in the student cases after such learning: (a) being able to enhance the width and depth of art and life view through the exploration of self, art, culture, ecology, and their connections; and (b) being more able to use intelligences from aesthetic spirituality as well as artistic wisdom in creation and life, and possess the features of spirituality and holistic development.