本文從認識論、存有論與美學等三個範疇入手，闡發宋儒程明道經典詮釋思想中涵蘊的「詮釋學」意涵。文中提出這樣的區別，即求取經典意義與作者意向之客觀理解的認識論，以及通過經典義理涵養理解者道德生命之主觀體證的存有論。在西方詮釋學的發展中，認識論─方法論一度是主導性的，當代詮釋學的存有論轉向則起自對這種主導性的抵制；然而在儒者（如明道）的論述中，這種對立是不存在的，而是處於一種合作關係。此外，明道還以一種審美策略品評人物，並能夠讓非感取的道德理念在各種感取物中得到體現，使得感取物成為激發為學志向的象徵式意象。

In this paper I use three categories which are borrowed from western hermeneutics to explore Cheng, Hao’s thought about Confucian classics interpretation. These categories are epistemology, ontology and aesthetics. According the former two, I make such a hermeneutical distinction between the search for ＂objective understanding＂ of the meaning of classics and the intention of author, and the search for ＂subjective cultivation or testimony＂ of interpreter’s moral life. It is worth to be mentioned that in the development of western hermeneutics, epistemology and its accompanier methodology were once in the dominant position, until the ＂ontological turn＂ of modern hermeneutics started with the resistance against this position. But this kind of opposition has never occurred in discourses of the Confucianists (ex. Cheng, Hao). By their classics interpretation, epistemology can join the partnership on the ontological cultivation of the Confucianists. Furthermore, Cheng, Hao still use a hermeneutic-aesthetic strategy to evaluate historical personages. By this evaluation, the sensible materials will transform itself into the symbolic image and thereby lets the non-sensible moral ideas be manifested. The Confucian learners can therefore be inspired more effectively.