王世貞《藝苑卮言》曾提出「文生於情」、「情生於文」的觀點，其中所呈顯的「文」、「情」辯證關係，其實涉及明代復古派如何就讀者角度去看待作品中的美感經驗，進而拓築出相當細緻的詩學探索。本文嘗試針對此一議題進行系統化的考察。研究成果指出，「文生於情」涉及詩的起源議題，也涉及詩的抒情本質及其真摯動人的審美效果，堪稱為「情生於文」的基礎。「情生於文」涉及詩的閱讀和欣賞議題，我們可發現復古派以讀者的姿態，由讀詩而切身體會到某種抽象朦朧的美感經驗，甚至據以進行「再創作」。這種現象隱含著「解詩」和「學古」雙重議題上的重要意義，足以逼顯復古派詩學中自有一種特殊的「審美式閱讀」取向，以及「情志學古」的方法思路。預計透過本文的討論和分析，有助於對復古派詩學，在眾所習知的「格調」一端外形成更周延的認識。

Wang Shi-zhen highlights the statement of “Qing as the source of Wen” and “Wen as the source of Qing” in his book Yi Yuan Zhi Yan. The dialectical relationship of Wen and Qing in his view, in fact, involves the revivalists in the Ming Dynasty; and how the revivalists approach the topic of aesthetic experience from the readers’ perspective. This article will present a systematic study for the above topic.
Through the results of further research, we begin to understand that “Qing as the source of Wen” is related to the origin, nature, and aesthetic effects of poetry. “Wen as the source of Qing” involves the reading and appreciation of poetry. After the revivalists viewed poems through the lens of the readers and having obtained aesthetic experience, they were then inspired to write poetry of their own. This phenomenon explains the importance of two issues: “Poetry Interpretation” and “the Mimicking of Ancient Poets”. The revivalists apply the interpretation of aesthetics in the understanding of poetry. They had also mimicked and learned poetry from the perspective of Qing. Through this article, we will be able to comprehend the revivalists’ poetic concept.