曾国藩的文章学丰厚详实,堪称集近代文章学之大成,其中最为特殊者,应为其“古文四象”之说。曾氏此说,与其“古文八美”之说,皆为其古文风格论,二者确定的时间相距亦不远,但二者对于阴阳风格的分类与归属,则有所抵触;且《古文四象》原著不存,亦增加争议性。本文试循曾氏分类的依据,亦即邵雍四象之说,援取《周易》“四象八卦”之推演,以架构古文“四象八类”的风格分类体系;并由此一体系,敷叙此说内涵。进而比较“古文四象”与“古文八美”之异同,分析二者相左之处与产生缘由,以见二者相参互补的功效,并阐述古文四象说文章风格分类的价值。 Tseng Kuo-fan’s articles are lucid and informative, which can be regarded as the culmination of modern essay studies. The most special of these articles should be called “four-character ancient prose”. Tseng said that instead of saying “ancient prose eight beauty,” all are based on their ancient style of writing, and the two are not far away from each other. However, the classification and attribution of yin and yang styles are contradictory. “Classical Four” disappeared from the original, but also increase controversy. This article tries to classify the basis of Tsang’s classification. That is to say, Shao Yong’s four images are based on the style classification system of “Gu Yi” and “Si Xiang Ba Gua” From this system, apply this connotation. And then compare the similarities and differences between the “ancient Chinese four elephant” and the “ancient Chinese eight beauty”, analyze the differences between the two and their causes, in order to see the effect of the two complement each other and explain the style classification value.