“观”之范畴贯穿于王国维治学的各领域、全过程。其主张艺术以直观为本，然非反理性主义者；其并非反对“比兴”，而是以“直观”说改造了“比兴”观，具有了近代西方诗学象征主义的意味。本文以伤春悲秋、月色天象为例，解析“一切景语皆情语”之论所体现的直觉认知的象征方式；以美人形象为例，解析“喜怒哀乐，亦人心中之一境界”之论对传统寄托方式的沿革；以疑问、否定及肯定等句式为例，解析“语语都在目前，便是不隔”中“不隔”的关键在于能否直观，及其对超越习惯、定势思维的直觉性语词的青睐。

The category of “perceiving” runs through all the fields and the whole process of Wang Guowei’s research. He insists that art is based on intuition， but this does not mean that he is an anti-rationalist. He is not opposed to the use of bi (comparison) and xing (affective image) in classical Chinese poetry, yet reforms these methods with his theory of intuition, thereby giving them connotations of symbolism in modern Western poetics. Taking sorrows for the change of seasons, observations of moonlights, and astronomical phenomena as examples, this article analyzes the symbolic means of intuitive cognition embodied in Wang Guowei’s statement, “all words of scenes are those of sensations”. Taking the image of beautiful women as an example, this article also analyzes his development of the traditional way of metaphor through the statement, “pleasure, anger, sorrow, and joy， are all realms in human mind”. Taking interrogative, negative, and affirmative sentence structures as examples, this article further argues that key to the term “non-ambiguity” in the statement, “non-ambiguity means that utterance seems to be in front of eyes”, is whether utterance can be perceived through intuition. Wang Guowei prefers intuitive words and phrases that transcend accustomed and inertial thinking.