晚明時期的美學，並未逸出傳統， 一仍前代的美學軌跡，極重視「境由心生」的 主體美感經驗，其對審美主體有更顯明的關懷。晚明文人將美感體驗與生活經驗相互融匯， 形成一種特殊的生活美學，努力經營設計出隨處得以體驗美感的居處生活環境。另外，由傳 統而來的知性價值典式，為隨處體驗的生活美感中，添加了古典情懷：傾慕古董文物、臆想 古代名流，這種濃厚的古典情懷，亦為晚明文人主體體驗之重要美感型態。以西人伽達瑪（ Hans-Georg Gadamer， 1990-) 的「體驗藝術」觀點來論晚明美學的意蘊是很恰當的，無論 是創作或觀賞，莫不由主的體驗出發，以導向一個完美生命型式的象徵性再現。吾人於本論 文中，將提出兩個美感體驗型態－－佈置居處以得隨處體驗之美感、情懷古典以為人生價值 之追求，試圖說明晚明美學的主體體驗特質。

　　　　　Aesthetics during the late Ming Dynasty still followed tradition and took the path of the previous dynasty, focusing on the theme towards aesthetic experience of place and boundary in your heart. It showed more thoughtful caring for the theme of aesthetics. In the late Ming Dynasty, scholars integrated experience of aesthetic feeling and life to form a special aesthetic life. They carefully arranged their living environment and use living environment as a bridge in an aim to experience aesthetic feeling. In addition, scholars in the late Ming Dynasty had deep "classic feeling".. They had a strong admiration for the value of traditional knowledge. It showed in two aspects: the popularity for collecting antique and admiration of bearing of ancient people. The purpose of this essay is to illustrate two important styles of aesthetic feeling through the arrangement of living environment to experience living aesthetics and the admiration of classical to look for the value of life.. No matter from the point of view of creation or appreciation in the arts of literature, this type of presentation was based on the experience of theme and went for a new symbolic presentation of perfect life style.