明末清初的王夫之曾对中国诗学中的一个古老的范畴“兴”作了重新的诠释。以往的研究者往往从接受的角度来解释船山诗学中的“兴”范畴,其实“兴”在王夫之诗学中具有多重的美学意蕴。在王夫之的诗论中,“兴”既生成了主体的创作动机与天人合一的审美境界,又生成了诗歌审美意象与形式。 In the late Ming and early Qing Dynasty, Wang Fuzhi once again reinterpreted the ancient category “Xing” in Chinese poetics. In the past, researchers often interpreted the “Xing” category in Chuanshan poetics from the perspective of acceptance. In fact, “Xing” has multiple aesthetic implications in Wang Fuzhi’s poetics. In Wang Fuzhi’s poetic theory, “Xing ” not only generates the subject’s motivation of creation and the aesthetic realm of the integration of nature and man, but also produces the aesthetic image and form of poetry.