香港诗人梁秉钧以对香港物质生活的书写著称，其有关都市空间的“游诗”以及食物题材的咏物诗歌都得到了一定的关注，是香港都市经验书写的代表之作。但目前还较少有研究关注梁秉钧咏物诗与“游诗”对都市空间的书写的共性并将其同样作为都市空间书写的研究。因此，本文由都市空间书写的角度出发、着眼于梁秉钧诗中的建筑物及其内外的空间，以期发现梁秉钧于不同时期作品中处理内外空间与其界线的方式的演变。

建筑物内外的空间是梁秉钧诗歌中不同空间的缩影，也是具体的香港文化问题的缩影，这些问题构成梁秉钧写作的底色，使其关切于呈现空间时诗人的态度。在城市中，建筑物划分出不同的空间，而建筑物的物质材料则构成不同空间之间的界线。因此城市的整体空间分别由漫游者行走的外部空间与栖居的内部空间构成。

梁秉钧早期诗歌中内外空间有清晰的区分，后期则趋于融通与开放，在这过程中，划分空间的界线由清晰转向了模糊，这也导致了空间不再是单一面貌的，而是根据随着人的观察角度的变化，内与外、私人与公共不再是严格区分的。梁秉钧在写作中由香港与大陆的关系、写作者与被书写的物象间的关系感受到被话语构建出来的不对等的中心与边缘。为此梁秉钧在自己的写作中尝试移换空间意识中的中心与边缘，以彰显“物”本身特性的咏物诗取代以诗人意志改变“物”的写作方式。

在此之外，视觉艺术与诗歌的相通之处也为梁秉钧的写作提供了启发，现代绘画中拆解重叠视角与手卷中呈现的移动的空间启发了对更为立体、多元的诗歌写作方式的追求。

Hong Kong poet Leung Ping-kwan is well known for his writing about the material life of Hong Kong, and his "travel poems" about urban space and his aria poems about food have received a certain amount of attention as representative of his writing about the urban experience of Hong Kong. However, there are fewer studies that focus on the commonalities between Leung Ping-kwan's aria poems and his "travel poems" about urban space and treat them as urban space writing as well. Therefore, this paper focuses on the buildings and their internal and external spaces in Leung's poems from the perspective of urban space writing, with a view to discovering the evolution of the way Leung deals with internal and external spaces and their boundaries in his works in different periods.

The spaces inside and outside of buildings epitomize the different spaces in Leung Ping-kwan's poetry, as well as specific Hong Kong cultural issues that form the undercurrent of Leung Ping-kwan's writing, making him concerned with the poet's attitude when presenting space. In the city, buildings demarcate different spaces, while the material materials of the buildings form the boundaries between different spaces. Therefore, the overall space of the city consists of the external space where the wanderer walks and the internal space where he lives.

In Leung Ping-kwan's early poems, there is a clear distinction between inner and outer space, but in his later poems, there is a tendency towards integration and openness, in which the line dividing the space shifts from clear to blurred, which results in the space no longer being one-dimensional, but rather, according to the changing perspective of the person who observes it, there is no longer a strict distinction between the inner and the outer, and between the private and the public. In his writing, Leung Ping-kwan feels the relationship between Hong Kong and the mainland, and the relationship between the writer and the object being written about, as well as the unequal center and edge constructed by the discourse. Therefore, in his writing, Leung tries to shift the center and edge of spatial consciousness, replacing the poet's will to change objects with aria poems that reveal the characteristics of the objects themselves.

Beyond this, the similarities between visual art and poetry have also inspired Leung Ping-kwan's writing, as the dismantling of overlapping perspectives in modern paintings and the moving spaces presented in hand scrolls have inspired the pursuit of a more three-dimensional and multifaceted way of writing poetry.