船山為情景論的完成者，近來船山情景論的研究，建立了船山哲學與詩學之間的溝通橋樑。於此本文試圖聚焦於情與景之辯證交融的可能性，說明情與景的兩端並非單向成立的過程，而是不同的交流共構成一整體意義。首先，本文以身體感詮釋在當下情境中詩人之情與外在之物的交融互涉過程，如何於主客體中共構起意義，本文要說明的是，在自然世界之中，情感的主動性以及其空間性，而自然世界之景物亦具有一種情感性的力量，影響著人。進而在詩學上試圖說明探究的是，情景交融如何透過語言構成，又達到什麼樣的美學效果，即是景物如何具有空間性，如何蘊涵情感及其力量；進而詮釋情感所具有的空間性如何展開與傳達，最後，本文提出「意」作為一種情景論詩學層面上的意義，是情景論從「作者」到「審美經驗」的整體呈現，期能以身體感與空間的思考，豐富船山情景論之內涵。

Wang Ch'uan-Shan was the one who completed the theory of Emotions and Scenery. Recent studies in his related theories have bridged communications between his own philosophy and poetry. This essay focuses on the possibilities of the dialectical and intertwining relationships between emotions and scenery. It explains that either of them can't be established through a one-way process from the other but various intercommunications that co-construct the whole meaning. First this essay interprets how the poet's emotions and external objects interact in the moment with corporeality, and how a mutual meaning is thus conceived in this subject-object relationship. This is to demonstrate the emotional activeness and spatial characteristics of nature, indicating that the natural scenery has an emotional power in itself that will influence humans. Then the essay further explores in poetry of how Qing Jing Jiao Rong is constructed through language and what aesthetic results can be achieved, that is, how scenery posses space and contains emotions and power. Moreover, this interprets how the spatial characteristics of emotions are developed and conveyed. Last this essay proposes Intention as a poetic meaning in the theory of Emotions and Scenery. It portraits a panoramic view of Wang Ch'uan-Shan's aesthetic experience in the theory. By thinking from the perspectives of the corporeality and space, it is expected to enrich the depth and meanings of the poetics of Ch'uan-Shan.