上世紀九十年代中，由陳尚君、汪涌豪發難，曾對司空圖《二十四詩品》著作權提出質疑。本文擬在此一新學術背景下對此一名作的研究作建設性開拓，以展現這篇詩學文獻與一定思想文化、詩壇風氣之間的歷史關聯。作者以觀察受道家玄學思想沾溉的詩學與《二十四詩品》觀念上的不同，特別是因魏晉玄學而在詩學中一度非常顯赫的「感物」模式已從《二十四詩品》中淡出這一事實為突破點，提出以往學界以玄學為背景解讀中國詩學這一名作尚不足究詰其本質。而由《二十四詩品》所體現的中國詩學在六個世紀中的進境是：傳統中的能感之「心」與所感之「物」已由「以類相應」轉變成在「境」中渾一。因而，心、物二分的狀態已不復存在，從物感而至心動的轉喻即敘述的過程已不復存在，被涵泳的是真正現象學的相互構成的居間之境。作者由中唐以後文人精神生活及詩壇風氣的轉移去追溯詩學中這一重大變化，指出引導這一轉移的是中晚唐文人禪中道玄、重玄派道教思想與禪宗思想的相接。經佛禪對線性時間的辯破，經佛禪心、色不二而對「感物」的顛覆，由此打開了在玄學中早已孕育、卻因玄學思想的內在矛盾而無法在詩學中破然而現的「境」的觀念，即心、物之辨確立之前、人與世界在瞬間相互交融生發的現象。最後，本文論證了《二十四詩品》以後設方式體現了詩人、詩境與品詩人之間也同樣是不可諍的、不二的「透明體驗」，論證了其文本中當下時間的非連續性質和話語的非連續性質，分析了其對「境」與「勢」關係的處理。由此臻其結論：《二十四詩品》是以由佛學開發的新的詩學觀念「境」為基點去論詩並發揮至極致的詩學作品。

This essay intends to open a new vision for the studying of Shi pin (The Twenty-Four Varieties of Poetry), exploring how the text relates historically to its intellectual and literary contexts. As there is a fundamental difference between Shi pin's poetic concepts and those valorized by the Wei-Jin metaphysics (Xuanxue), particularly since the old lyric formula of stirring-and-response is eclipsed or even subverted in this text, it is thus argued that Xuanxue cannot be the exclusive source for Shi pin. The progress which occurred six centuries after the Wei-Jin period created a new formula in poetics: the relationship between a poetic mind and its objects was transformed from a response following a stimulus to a shared, schematic totality: visaya, "landscape, scene, sphere, objective content." Even a limited form of dualism between mind and object no longer existed, nor did a metonymic or a narrative process from stimulus to response. What appeared was a phenomenological scene (visaya). The author demonstrates that the coalescence of Neo-Taoism in Xuanxue, Chongxuan Taoist religion and Chan Buddhism of the literati of the mid- and late-Tang led poetics into this transformation. By breaking down the concept of linear time, and subverting the stirring-and-response formula by Buddhism, the new lyric concept of "inscape," jing, which designates a pure phenomenon that finds humans and their world in mutuality, was born. This essay argues that the Shi pin meta-lyrically embodies this new lyric experience of non-dual, "transparent experience." The essay demonstrates the discontinuity of time and non-metonymic nature, and analyses the relationship between two central concepts of Chinese poetics, jing and shi (propensity of things), in this text. It concludes that the Shi pin is jing incarnate and it has exerted a substantial influence on Chinese literary criticism.