本文經由《楚辭》學史導出，認為漢代以至宋代，大體從屈原之人格與情志的觀點，經由「比興」解碼，以詮解屈辭之義。儘管他們對《楚辭》的文學特性不是全然沒有認識。不過，仍少由屈辭作品本身語言形式之藝術性，以詮評其美感及價值。此一詮釋典範至宋代朱熹開始改變，及晚明清初而轉型。本文即以晚明清初學者對《楚辭》之批評，通過以情論道、虛實之辨、結構分析與細部批評等四項，闡明晚明清初學者對《楚辭》藝術性的認識。晚明清初的《楚辭》學者「把形式問題提昇到這樣的高度來對待，不僅意味著一種從審美的意義上建立起來的藝術價值觀，而且更重要的是對藝術形式的美學特質的認識向前跨進了一大步：不再把形式僅僅當作表現觀念、情感的工具。」於是，《楚辭》的藝術經典地位形成，而《楚辭》研究也由經學、理學向文學轉變，開創《楚辭》學發展的新方向。本文因而能彰顯《楚辭》學中有關藝術審美批評之譜系，並藉此拓展《楚辭》學史之新貌。

This research is derived from the history of the study on "Chu Ci". From Han to Song dynasty, the general ways to interpret the meanings of Qu Ci are through "bi" and "xing" in terms of Qu Yuan's personalities and emotional wills. Although they have ideas about the literary characteristics of "Chu Ci", however, they seldom interpret its values and aesthetic perceptions through the language artistry of Qu Ci itself. Until the Song dynasty, Zhu Xi begins to make the model interpretation be changed, and it reforms in Late Min and Early Qin Dynasty. This research is namely to discuss the criticisms to "Chu Ci" in Late Min and Early Qin Dynasty. Illustrating the scholars' understandings to the artistry of Qu Ci during the Late Min and Early Qin Dynasties is through the following four ways: discussing "dao" through sentiment, the discussion between abstract and actual situations, the structure analysis and the detail criticism. During the Late Min and Early Qin Dynasty, the scholars of "Chu Ci" "promote the forms of questions to such highly, not only mean one kind the artistic values which establishes from the esthetic significance, moreover more importantly stride in a stride to the artistic form esthetics special characteristic understanding to front: Form is no longer treated as only the tools of performing ideas and emotions, but itself is also the artistic creation center." Therefore, the artistic classical status of "Chu Ci" has been formed. The study on "Chu Ci" is also transformed into literature from classical and the idealist philosophy. It also starts and develops a new direction of the study on "Chu Ci". This research can obviously show the systematic criticisms of the study on "Chu Ci" which are related to artistic esthetic criticisms. Herewith, the history of the study on "Chu Ci" can be expanded to a new manner.