本文以戰國時期一件北方草原地區出土的黃金牌飾為分析對象，試圖發掘一種文獻以外的美學意涵。本文在「器之顯現」的四個主要因素，即「質料因」、「動力因」、「形式因」與「目的因」，從工藝、現象觀察、形式分析、考古脈絡、圖像意涵等方法的多元視野，以交疊出此器物的豐富文化意涵。本文並參考當代理論中所強調觀者的視界融合因素，試圖在文獻不足的有限條件下分析戰國時代北方民族的審美觀與世界觀。 本文透過黃金牌飾畫面的形式構圖，發現其審美觀係表現在「多元視點」的並置、以及「二元對立」上。這種衝突與其說是負面的力量，不如說是一種生命必須接受的自然法則，是一種物競天擇的自然法則，一種絕對化的自然，一種只能遵守不能對抗的超越性自然。

The text adorns for the analytic target with a gold buckle, which was unearthed from northern tribe area of the Warring States Period, attempts to excavate its aesthetic meaning. The author will analyze the four main factors of the ‘emergence of an artifact’, namely ‘the material cause’, ‘efficient cause’, ‘formal cause’ and ‘final cause’, and the text will discuss from the aspects of craft, phenomenon of appearance, form, archaeological context and iconological meaning in order to overlap the diversified cultural meaning of this gold buckle. On the other hand, the contemporary theory of Hermeneutics about ‘diffusion of horizon’ will be adopted to reveal its aesthetic conception and world outlook about the northern area of the Warring States Period under the limiting conditions with insufficient document. By analyzing the composition of the icon on the gold buckle, we could find the aesthetic meanings displaying on two aspects; ‘diversified view points’ and on ‘binary opposite’ relationship. This conflict from the icon on the object is more of coming from the nature law that a life must accept than a kind of negative power, a natural law that was chosen by competence and power, an absolute and holy nature whom only be in accordance with but can't confront with each other.