本文以《文心雕龍》中的〈神思〉、〈物色〉、〈比興〉等篇章為出發點，藉由打破篇章侷限的論述，試圖從「物象」、「心象」、「（文字）意象」（語言文字層面）的創作活動架構，探討劉勰「意象」與「比興」之觀念在此一架構中所隱含的不同層次的意涵。透過這樣的探討，可以重新省視傳統以來對「意象」和「比興」的不同說法，除了可以一窺劉勰在《文心雕龍》中所論述的「比興」之說的理論特性之外，並可以重新檢視各家對「比興」說探討之不同角度的合理性與侷限。在深入挖掘劉勰文論中的精蘊之同時，也可以對聚訟紛紜的「比興」之說，提供不同的參照點。文中認為劉勰關於「意象」的觀念，不是「作家頭腦中的意象」那麼簡單，而是運用此觀念聯繫了「在心的『意象』」到「在文的『意象』」之具體活動。而劉勰對「比興」的討論，也不侷限在政教諷諭傳統，而已經觸及到後人關心的「情景交融」之批評論題，因此對於此論題的觸及，就不僅僅只限於「物色」、「形似」等術語觀念。透過「比興」的觀念，劉勰對創作活動協調心物關係有十分重要的觀察。此觀念對唐人之影響也明顯可見。

In this paper, from the chapters ”the sensuous colors of physical things (物色)” and ”spirit thought (神思)” and ”comparison and affective image (比興)” of Wen Xin Diao Long (文心雕龍) as a starting point, trying to use the frame of ”images”, ”imagery”, ”(text) concept-image ” (language level) in the aesthetic process of creation process, probes the significance of the concept of ”concept-image” and ”comparison and affective image” in Liu Xie(劉勰)'s criticism system. Thus, we could reexamine the different statement about the study of ”concept-image” and ”comparison and affective image”. Not only disclosure the profound meaning of Liu Xie's criticism concept, but also the justifiability and muff of the different statement could be further appeared. In the opinion of this paper, the ”concept-image” not just the image in the poet's mind, but the concrete activity in the process of the creation, that was the concrete description from the imagery to the (text) concept-image. And the concept of ”comparison and affective image” was not just the result of the tradition of politics and enlightenment but also the description of the relationship of mind and images in the progress of creation activity. From this study, the importance of the ”concept-image” and ”comparison and affective image” in the concrete activity in the process of the creation in the criticism system of Liu Xie will be emphasized more than the common statement. The influence of this two criticism concept on the literary theory of Tang Dynasty was obviously appeared.