梁宫体诗歌因其艳情题材大抵为历代所诟病,本文拟在视觉逻辑下对梁宫体诗歌在产生过程中所遭遇的“看”与“被看”机制进行新的探讨。梁宫体诗人以女性作为观看对象,进行艺术实践,创作了极富画面感的诗歌。而对女性的细致描摹,本身是诗人艺术实践的结果,这种直观的审美范式使梁宫体诗歌在中国诗歌发展史上具有了独特价值。 Because of its erotic themes, Liang Gong’s poems are generally criticized for ages. This paper intends to make a new discussion on the mechanisms of “seeing” and “being seen” encountered during the production of Liang Gong’s poems under visual logic. Beam Palace poet to women as the object of observation, artistic practice, created a very rich sense of painting poetry. The detailed description of women is the result of poet’s artistic practice. This intuitive aesthetic paradigm makes Liang Gong’s poems have unique value in the development of Chinese poetry.