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张岱是明末清初学术文化史上一位在人文科学诸多领域都取得了卓越贡献的杰出人物。其丰富的文艺－美学思想亟待从多方面展开深入研究。本文从第一手材料入手，对张岱的艺术家论做了较为系统深入的爬梳整理和探究。认为，张岱艺术家论的最显著特点是将生命体验上升到艺术哲学高度，打上了鲜明的时代和个人生活印记。其所标举的“张子自为张子”（贵我）、“炎凉势利者不足以言艺”、“大不幸之际其诗乃工”等命题，既有对传统理论的发挥，更是身处甲申（ １６４４）国变“大困厄之世”特定的个性生命体验。而化生命体验为艺术哲学，大大增强了其作家论的理论力度和说服力。
Zhang Dai was a prominent figure in the history of academic culture in the late Ming and early Qing dynasties who made outstanding contributions in many fields of the humanities. Its rich literature and art - aesthetical thinking urgently need to conduct in-depth study from many aspects. This article starts with the first-hand materials and does a systematic and in-depth investigation of the artist’s theory of Zhang Dai. In his opinion, the most prominent feature of Zhang Dai’s artist theory is that he raised the life experience to the height of the philosophy of art and marked a distinctive mark of the times and personal life. The quotations of “Zhang Zi Zi Zhang” (Gui Zi), “The Fan of the Sun is not Enough to Speak Art,” and “The Unfortunate Occasion of Poetry” and other propositions, both on the traditional theory of play, more Is a specific personal experience of living in the “great distress of the world” of the State Power (1644). The life experience for the philosophy of art, greatly enhance the theory and persuasion of his writer.