夏目漱石傾心陶淵明、王維等中國文人，其大受影響之處可從漱石之日記及與友人往返之書信中略窺一二。在文人畫 （南畫）方面，漱石之藝術觀等處處呈現了王維之脈絡。 在這些王維影響的範籌中，小稿僅針對漱石之漢詩做為探討對象。鄭清茂在『中國文學在日本』一書中曾提及：「當然我們不能否認這些詩裏有唐詩，尤其是王維的影響，然而卻有漱石自己的心境，不只是模仿而已。」這段評論中特別強調了漱石漢詩受王維影響外，又另外創造出屬於自己之另一番天地。 漱石漢詩中之第四期漢詩──題畫詩──已臻至文人畫中「詩中有畫」之最高境界，這類漢詩除了詩中歌詠之理想境界之外，為營造出繪畫氛圍也投入了許多色彩，這些漢詩中色彩運用之傾向、透過該色彩之頻繁出現營造出何等效果？等等問題值得探討。 本稿中將檢視漱石題畫詩中色彩運用之傾向，並與王維代表作之一的〈輞川集〉做比較，分析兩者之異同、探討色彩所蘊藏之含義，進而分析出漱石獨創之處及其涵義。

Natsume Soseki admired Chinese literati such as Tao Yuanming and Wang Wei. One can see how these literati influenced Soseki from his diary and his correspondence with friends. Wang Wei’s influence is especially prominent, specifically, in the area of literati paintings ("Nanga"); Soseki’s views showed significant connections to Wang Wei’s. However, these influences are not only limited to literati paintings ("nanga"), one can also find the presence of Wang Wei’s ideas in Soseki’s Chinese poetry. Cheng, Ching-Mao stated in his book "Chinese Literature in Japan": "We can’t deny the fact that these poems show influences from Tang dynasty poets, especially Wang Wei. Nevertheless, these poems are never mere imitations; we can catch a glimpse of Soseki’s state of mind through them. "This commentary emphasized how, while influenced by Wang Wei, Soseki created his own world of literature. The fourth stage of Soseki’s Chinese poetry, painting poetry, has reached the pinnacle of literati painting ideals: the concept of "paintings within poetry". In this type of Chinese poetry, apart from the expression of poets’ views, colors are often incorporated to create a visual atmosphere. How colors are incorporated into these Chinese poems, and what effect the frequent appearance of said color(s) have on these poems are topics to be discussed. In this paper, the author will examine the how Soseki incorporates colors into his painting poetry, compare and contrast it with Wang Wei’s famous"Wheel River Collection" ("Wangchuan ji"), explore the meanings behind these colors, and identify Soseki’s originality in these poems.