本文擬探討「時間」圖式在現象中的應用，尤其是在跨文化領域中，如何牽動不同文化之間的知性體系脈絡？又如何在藝術創作中更新舊有圖式，再創新奇的直覺觀照？文中將以十七世紀基督宗教傳入中國時耶穌會士柏應理（Philippe Couplet）《四末真論》為中心，思索基督宗教「終末時間」圖式的相關課題。首先考察柏應理如何迻譯其神學的「終末時間」以入漢語古文，其次分別就〈死候說〉、〈審判說〉、〈天堂說〉、〈地獄說〉四個章節考察終末時間圖式在《四末真論》圖文中的轉化，最終探討柏應理將時間圖式由基督宗教傳到漢文化過程中的衍異創新，開展出漢語基督宗教的時間詩學。期能透過西來傳教士神學與漢文化美學的對話，思索「時間」圖式在近代東西方文化接觸時的遞移、外推與影響。

This paper intends to discuss “time” schema in application of phenomena, especially how it influence the context of the intellectual system between different cultures in the intercultural field, and how would it update the old schema in artistic creation, and create new intuition contemplation. This article discusses the related subject of “end time” schema of Christianity, based on Jesuits Philippe Couplet’s Four Last Things in the 17th century when Christianity was introduced to China. First, it examines how Philippe Couplet translate theological “end time” into ancient Chinese. Secondly, the four chapters of “Death”, “Judgment”, “Heaven”, and “Hell” are used to examine the transformation of the end time schema in the graphic of “Four Last Things”. Finally, it discusses the evolution of Philippe Couplet's time pattern from Christianity to Chinese culture, and carries out the time poetics of Chinese Christianity. Hope to think about the recursion, strangification and influence of the “time” schema in the contact between the East and the West in modern times through the dialogue between the Western Missionary theology and the Chinese culture aesthetics.