本文嘗試揭舉出現於東晉時期的關鍵語彙「理感」一詞，以此作為玄學思潮與詩作交會的理論依據。再以「玄思式的理感」與「賞媚式的美感」兩種典型，析論謝靈運山水詩的特質與詩歌史的意義。前者係以「理感」連結現實的山水情境與玄學典故，用具體的山水意象形成「感應場」而創作的山水詩，是類山水詩雖然引用玄典，卻清楚呈現出謝靈運對於玄言詩的轉進。後者則更進一步將「理」的感應推向「美」的感應，契入了具體的賞美體驗，在這類詩作中謝靈運以自己的語言，在山水情境中反覆究詰情、理、美的關係，展陳緣情主體在山水中如何轉化為賞美主體的過程。綜言之，「玄思式的理感」與「賞媚式的美感」，一方面呈現出謝靈運前後期山水詩的不同特質，另一方面則體現了中國詩歌從玄言過渡到山水的轉折；而謝靈運將「理感」推向「美感」的創獲，更為六朝美學的發展提供最具體的見證。

This paper attempts to shed light on the term ligan that first appeared in the Eastern Jin, and to take it as the theoretical basis for examining the intersection of Wei-Jin metaphysics and poetry. Two theoretical models-the metaphysical ligan (affectivity of patterns in nature) and the aesthetically appreciative meigan (affectivity of beauty in nature)-are applied to analyze the particular qualities and historical significance of Xie Ling-yun's shanshui (mountain-and-river) poetry. In the former model, shanshui poems are written with ligan; connecting the actual landscape with metaphysical allusion, these poems employ specific landscape imagery to form an "affective field." Although this type of shanshui poetry uses metaphysical allusion, it clearly illustrates Xie Ling-yun's shift away from xuanyan (metaphysical poetry). In the latter model, this response to natural pattern is developed into meigan, a response to beauty, and merged into the experience of appreciating beauty in nature. In his meigan poetry, Xie Ling-yun uses his own language to repeatedly interrogate the interrelationship between qing (emotion), li (pattern/order), and mei (beauty), demonstrating how the natural environment transforms a person who follows his emotions into one that is able to appreciate beauty.Ligan and meigan on the one hand present the different characteristics of Xie Ling-yun's early and later shanshui poems and on the other display the important transition from xuanyan to shanshui in Chinese poetry. Indeed, Xie Ling-yun's achievement in developing ligan into meigan best exemplifies the development of Six Dynasty aesthetics.