本文對《文心雕龍》審美心物理論之建構予以分析詮釋，通過對其「各種視域融合」的研究認為：先秦時期儒幅重視心對物的積極作用，當是劉勰強調審美主體感物而動的思想基礎，是《文心雕龍》審美心物觀強調「物以貌求，心以理應」的重要理論「視域」，戰至兩漢時期，從《易傳》、《呂氏春秋》《禮記》及《春秋繁露》等著作中，可以看到儒學融入了陰陽五行的學說，其孕發了「氣之動物，物之感人」的文藝思想，並構成《文心雕龍》審美心物觀「物色感召」的基礎；劉勰審美「虛靜」說以及「入興貴閑」的理論，與道家「虛而待物」的思想也是貫通的；六朝時期玄學、佛學的心物觀念，特別是般若學的本無，即色、心無三宗思想，對《文心雕龍》審美心物觀的潛在作用也是深刻的；在心物與言意的關係上，劉勰認為心物交融的過程，正是以語言作為其「交融」的思維形式。《文心雕龍》這種心物交融的審美內涵，成為中國文學藝術創造的獨特特徵。

In this paper, I analyze and interpret the theory of appreciation of aesthetic as well as mind-matters of Wen-xin-diao-long (《文心雕龍》) and through its study of various kinds of visional integration, the Confucians mind-matters thoughts in the Pre-Q@ing dynasty might be Liu-xie’s (劉勰) thinking foundation. In the famous texts from Zhan-guo to the Han Dynasty, we can obviously find the combination among divinations and Confucianism. In addition, Liu-xie’s opinions are related to Daoism and Buddhism. He thinks that the process of the integration is a thinking form by languages and influenced by different theories among Confucianism, Daoism and Buddhism. The purpose of this paper is to know that the mind-matters thoughts are Chinese inherent traditions and through Liu-xei’s opinions especially the construction of Wen-xin-diao-long, they become the unique characters of Chinese art creations.