It has been so far acknowledged that the pioneering proponent of the study on the fusion of meaning and scenery is Wang Chang-ling, the poet in the flourishing age of Tang Dynasty. The article is divided into three sections. The first section delineates Wang's concern for the establishment of the emotion and theme. The theme mentioned by Wang is also related to the six meanings of poetry m Confucianism. In addition, Wang valued highly of thinking hard. He made the great effort to achieve the attainment of the poetic realm with languages in order to forerun the precedent scholars. This idea is likely originated from the literary style flavored by the South Dynasty--"being bold to create something new that had not been written". The second section is entitled "reflection and thinking." Firstly it indicates that the ultimate aim of attaining the central theme of a work is to get the ideal object that could correspond to the mind of the poet. In order to do so, the poet has to await the emergence of the ideal objects, through which he obverses the images; finally, among these objects, he gets the ideal one that suits most to his will. The last part of this section also particularly describes the imagery of the object according to three kinds of scenery in poetry (nature scenery, emotion scenery, philosophy scenery), ensuring that "reflection," termed by Wang, refers to obtain the ideal object. In the third section entitled "the influence of Buddhism," a handful of literature reviews related to Buddhism and Taoism is illustrated to point out that Wang's creating method-- "getting the ideal object through reflection'--is actually based upon the religious philosophy practiced in Buddhism and Taoism. The method is probably based upon the North Buddhism that prevailed in the capital city at that age (Tang dynasty). The assumption made by the author is that one of Wang's major contributions is to tackle the problem in the theory on the fusion of meaning and imagery by devising the creating method---"getting the object that suits most to the will from the ideal scenery." He transformed the convention by turning the theory on the fusion of meaning and imagery into the theory on the fusion-of meaning and scenery. According to the theory proposed in the Six Dynasties, the poetic imagery is directly obtained from the object. However, according to Wang, the poetic imagery comes from the ideal scenery; the poet has to obtain the object via reflection instead of directly via the object so we could name Wang's theory as the theory on the fusion of meaning and scenery instead of the theory on the fusion of meaning and imagery.