本文欲以元刊雜劇《嚴子陵垂釣七里灘》為具體例證，探求王國維於《宋元戲曲史》中所提出的「元曲意境」課題，透過真正理解靜安先生對元曲之評論、評價，進一步開展承繼傳統、開創新意的當代詮釋。論述上，本文並非直接從劇本為討論之端，而欲先由元代散曲和文人山水畫的脈絡，觀看雜劇所處的時代氛圍與文學位置，思索文人／曲家／畫家面對此一課題的深層心態與書寫狀態。本文將藉「曲文意境」之索，探討元代「隱逸文學／美學」，以元曲中的「嚴子陵意象」為焦點，集中焦點於散曲中的「嚴子陵」書寫；佐以同代文化脈絡與文學圖像中的經典－黃公望〈富春山居圖〉之畫境參照，最後才以元刊雜劇《嚴子陵七里灘》作為具體分析的戲劇文本，綜合探討元代的「南人」曲家、畫家們，如何將自我心志透過「曲文」及「如曲之畫作」娓娓道來，成就元曲之特質與意境，從而呼應王國維對於一代文學之讚揚。

This paper will re-examine Wang Guowei’s artistic concept of ＂yiging＂ in ＂The History of Drama in Song-Yuan Dynasty＂, using the core example of Yuankan ＂zaju Seven-Miles Bank (Qili tan)＂ to interpret his comments and evaluation on Yuanqu, trying to give this critical term a proper and applied contemporary significance. Methodologically, this paper will analyze ＂sanqu＂ and its authors/literati at first, and then focus on the famous landscape painting, Huang Gongwang’s ＂Dwelling in the Fuchun Mountains＂ (Fuchun shanju tu), through which we got a whole picture about the atmosphere of the times and the state of minds of Yuan literati/writers. Finally, by close-reading of the dramatic text of ＂Seven-Miles Bank＂, the playwright’s attempt on Yan Ziling narration could reply how the idea of withdrawal (ying) connected with Yuan literati’s internal life and their words/paintings, which at the end formed the characteristic of yijing of Yuanqu. Therefore, Wang Guowei’s sparkling insight absolutely explains why Yuan drama could be treated as the representative literature of its times.