本文通过对王维的辋川诗集的细读，诗和画的相互影响的分析，来理解诗人如何因为其绘画实践和佛学修养的影响，在山水诗中表达“空”的概念。在对辋川诗的分析中，特别注重河流和白云这些绘画中通过负空间进行表达的物象。进而尝试通过延伸负空间这一术语的外延，开掘其对于古典诗画的阐释力，从理论层面找到山水诗和山水画共享的意义生产模式。同时显示典范的诗人画家王维的创作模式对整个文人画传统的启发和塑造。在跨媒介的比较中，进一步理解传统的 “诗中有画，画中有诗” 这一艺术史、文学史以及思想史的评语。

Through a close reading of Wang Wei's Wangchuan poems and an analysis of the interplay between poetry and painting，this paper seeks to understand how the poet expressed the concept of “emptiness”in his landscape poetry，which received influence from his painting practice and Buddhist training. In the analysis of the poems， special attention is paid to the imagery of water and clouds，which are often rendered as negative space in paintings. With the help of the term “negative space”，this paper tries to better interpret classical poetry and painting coherently，and to find a paradigm of meaning production shared by landscape poetry and painting from a theoretical perspective. Meanwhile，the paper also shows how the artistic production of the iconic poet-painter Wang Wei inspired and shaped the tradition of literati painting. In the cross-media comparison，we further understand the artistic，literary，and intellectual commentary that“there is painting in poetry and poetry in painting”in the premodern Chinese tradition.