“兴”中所蕴含的意或者“兴”发时心物交会所产生的意（意义、趣味等）。是作者通过对景物感受到某种意趣、意味等之后直接创作出富有一定含义的艺术形象。这一术语主张作者将思想情感自然而然地融入对于描写对象的感受之中，并通过艺术形象和审美情趣传达出来，从而激发读者的联想，产生更丰富的领悟。

The term refers to the meaning implicit in an inspiration, or meaning and charm generated when poetic emotion encounters an external object or scene. It is an artistic image an author creates when appreciating the beauty and charm intrinsic in an object or scene. According to this term, an author should incorporate his sentiments and thoughts into the object or scene depicted to convey them through artistic images and aesthetic appreciation. This will spark the reader's imagination and thus enable him to gain a deeper appreciation of a poem.

引例 Citations：

◎凡诗，物色兼意下为好。若有物色，无意兴，虽巧亦无处用之。（王昌龄《诗格》）

但凡诗歌，景物描写、意义与趣味兼备最好。如果只注重景物描写，缺少意兴，描写技巧再高超也用处不大。

A good poem instills meaning and inspiration in its description of scenery and imagery. If a poem only describes scenery and fails to inspire people, no matter how eloquent the description may be, it will have little appeal. (Wang Changling: Rules of Poetry)

◎南朝人尚词而病于理，本朝人尚理而病于意兴，唐人尚意兴而理在其中，汉魏之诗，词、理、意兴无迹可求。（严羽《沧浪诗话•诗评》）

南朝诗人追求辞藻而说理不足；本朝诗人崇尚说理，作品缺乏意兴；唐代诗人注重意兴同时蕴含道理；汉魏诗歌的文辞、道理和意兴自然融合在一起而不露痕迹。

Poets of the Southern Dynasties were good at using rhetoric but weak in logic. The poets of our Song Dynasty champion logic but are weak in creating inspirational ideas. Poets of the Tang Dynasty gave equal weight to both meaning and inspiration, with logic implicit in both. The poems of the Han and Wei dynasties blended the choice of words, logic, and the inspiration imperceptibly. (Yan Yu: Canglang's Criticism of Poetry)

（推荐：教育部 国家语委 供稿：北京外国语大学 外语教学与研究出版社）