本文是以美學作為社會研究方法的一種嘗試。觀察法旅游涉及的「觀看」、「觀看者J以及「看到的景觀」即是本文的焦點論題。在題材方面，要討論的是一貫道借寂儀式以及儀式語境程所隱涵的「神學問題」。由於觀看手里運用的知識法則含有特練的成份，因此它和歸納、演繹的知識自有不同之處。否定的觀看牙口視點的美學共同形成觀看的理解基礎，因此對於儀式的視看可以導出對於儀式文本以及儀式語境的批判理解。在此前提之下，作者意圖進入一貫道的道場觀看借寂儀式，但在進入之前，也必須先交待觀看者本身所處的文化位置，以及理解的脈絡。在該進場中的觀看，以及配合相關的場合、文獻共同交織之下，作者看出三個值得作神學討論的弔詭問題，亦即i胡於宙II辭/經典，父權/母權，和智性/反智的問題。妥而言之，借泉是一種仙佛顯化的途徑，但轉練法之下的觀看卻會帶出負顯化的問題。

This paper attempts to apply a kind of aesthetics coined by Susan Sontag and John Berger to the social studies. What we used to call the method of observation is actually constituted of the act and the agent of looking， and， if understood critically， these elements will contribute differently to the formation of what is looked. The target of the present observation is a ritual called Jie·Qiao ("borrowing the body，\" literally) often practiced by a sub·sect (called “Fa·I·Chung-De")of the I·Guan-Dao (The Unity Sect) in Taiwan. Before going into the field， these agents of observation are by themselves a starting point of the present problematics: In what sense can they be the critical observer? The author then shows how the observed scenes became theoretical (esp. theological) problems for the I-Guan-Dao as well as for whoever attending the ritual. For the religion， Jie-Qiao is meant to be a way of revelation， but through the methodic looking， one gets negative epiphany.