每一時代，都有其努力實現的理想，魏晉時代亦不例外。本文對於魏晉樂賦的研究旨趣，即是由「理想」的追求出發，力求從文化背景的角度探索魏晉人對於理想空間以及人格理想的追求。將此兩個論題合併討論的用意在於，人與空間有著緊密的關係，我之快樂與否、幸福與否、歡喜與否，都與空間反應予我的成受有關，故一個理想的空間成為我之幸福的追求。而理想空間的實現，必須由理想的人共同經營之，如此理想才能延續下去。深入探討之復，將會發現，魏晉人對音樂審美的理想，以一種文學的手法，闢造在現實中不存在的「純境」、建構自我放逐的精神堡壘，重建一個自然而然、悠遊自在的理想國度。並且透過對器樂形、神的鑑賞，聯結到魏晉對人格美的追求，依此而溝通了樂與人之間同情共感的可能，建立起樂與人之間異質同構的審美成應機制。於是樂賦中理想空間與人格理想的建構，說明了魏晉人企圖藉由音樂進入到一個完滿境界的想望。

In each era, there were dreams to be fulfilled; Wei-Jin Dynasty is no exception. This study purports to discuss in Wei-Jin era people's pursuit of ideal space and personality based on the "ideality". That these two issues were discussed together is because human and space have close relationship. Whether a person is happy and blissful has a lot to do with space. Therefore, an ideal space is the requirement for bliss. In addition, the fulfillment of a desirable space must be facilitated by ideal people to continue the well-being. From this essay, we will discover that in Wei-Jin Dynasty people's ideality of music aestheticism, through machinery, built upon "pure field" which did not exist in reality-a utopia with natural nature and free spirit. Moreover, the appreciation of form-spirit in musicality and instrument was associated with the people's pursuit of personality beauty. Accordingly, the empathetic possibility was created between music and human; thus the aesthetic telepathy system of isomorphism between them was constructed. As a result, the construction of ideal space and personality in music-fu illustrates the hope of people in Wei-Jin era to enter a perfect realm via music.