過去我們談詩人進行登臨遠眺、進而吟詠創作的活動，通常與思鄉，懷古，憂國等主題有關。但相對於個體詩人的創作，南北朝時期盛行的同題應詔之作，往往表現其集體性與政治性的意圖，更多過個人性的意志與抒情。因此齊梁的登臨詩歌一方面有自我情志之表述，一方面則呈現對政治、對帝國以至於對王權的寓意與寄託。本文透過幾首描寫登臨、遠望的齊梁詩切入，從風景與視野的描寫，從觀看時的慾望與想像，以至於光線光源的轉變切入，試圖掌握其後的觀看視角以及寫作者透顯的文化隱喻。空間、觀看、權力在詩歌裡被觀看，被描寫，故本文分為三個層次，先論自己與他人所見的風景，再論觀看背後透顯的公私慾望，三論詩裡景物的光源與反射以及與皇權的對應關係，透過不同的登臨應制詩之描寫，試圖勾勒出觀看的背後複雜且多元的文化意涵。

In the past, it was thought that the writers ascending the heights and then writing poetry were usually related to themes such as homesickness, nostalgia, and the Sorrow for homeland. However, Compared to individual writers, co-writing on the same subject during the Southern and Northern Dynasties often expresses their collective and political intentions, rather than personal will and Lyricism. Therefore, Qi-Liang’s poems on the arrival of the ascension have the expression of Personal emotion, and presented the meaning and sustenance of politics, empire, and kingship. I will submit a few Qi-Liang poems that describe distant views, from the vision, scene, light, and even from the reality and imagination of landscape. This paper will follow three steps, fi rst on infi nite and limited horizons, second on the meaning of imagination and desire, and third on the description of the light source, refl ection and the corresponding relationship with the Kingship. I hope through this kind of research, observe the complex and diverse cultural meaning behind the viewing.