「第一代現代新儒家」馬一浮以「六藝論」為時人所重，後人多以此論為「經學」，為「義理學」，卻忽視六藝論實為一種學術史觀。當馬一浮斥清儒章學誠的「六經皆史」，又斥「學術史」不過是目錄，無益於身心，反是在「辨章學術，考鏡源流」理念下，重塑一種新型態的學術史觀，我稱為「義理式的學術史觀」。他一反章氏推尊史學，而將學術源流抬升至義理層，以心性之學為內蘊，質變了「學術史」原本的史學定位，轉趨與義理學（即今所稱之「哲學」）相銜，並以此重新定位傳統、現代學術之源。緣此之故，其六藝論鎔鑄了「學術史」、「經學」、「義理學」，開展出一條嶄新的學術思想路向，卻也在晚近受西學影響，學術分科愈趨嚴謹之際，難被定位，學術評價兩極，本文將說明馬一浮對章學誠學術史觀的承繼與質變，與其論點之限制。

Zhang Xue-cheng and Ma Yi-fu were also well known for study the ＂Six Classics＂ Zhang's ＂The Six Classics as History＂is seen as ＂aintellectual history＂. But views put forward by Ma Yi-fu, it was treated as ＂Confucian Classics views＂ or ＂Chinese philosophy＂, Yet ignored and turned out to be an ＂intellectual history＂. When Ma Yi-fu deny Zhang's Views. He did not completely deny its value. Ma Yi-fu want to create a new intellectual history, I define this as a＂Chinese philosophy's intellectual history＂. Therefore, this paper will review the differences of vives between Zhang Xue-cheng and Ma Yi-fu.