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飞鸟意象从先秦以至齐梁呈现由起兴－比兴－写生的大略历程。谢朓写实性的飞鸟，其一用来体现生意盎然的春天，作为“春天的歌手”出现在山水诗中；其二以远去的飞鸟拓展辽阔渺远的艺术空间，表达思乡怀友的情绪。特别是后者具有鲜明的飞鸟情结和艺术个性，扩大了山水诗的“平远”结构的表现形式，对于后世具有范型作用。另外，还用传统的飞鸟比兴手法，表达自己不愿明言的政治处境和难言之隐。
Bird images from the pre-Qin and Qiliang appear from the beginning of the development - Beixing - sketching the general process. One of Xie’s realistic birds is the one that embodies the flourishing spring business, appearing as a “spring singer” in the poetic landscape poetry. The second is the fledgling bird that extends far and wide the art space to express the sentiment of the hometown friends. In particular, the latter has a distinctive flying bird complex and artistic personality, which expands the expression of the “far-away” structure of landscape poetry and serves as a model for future generations. In addition, the traditional bird-like approach is also used to express one’s own unwillingness to express political situation and unspeakable implicitness.