本文内容是研治《文心雕龙》，而取《风骨》篇以为核心重点，加以阐释。以《风骨》为主题的论文固自不乏，但本文有其自己的观点，例如名家黄侃《文心雕龙札记》、刘永济《文心雕龙校释》，皆以为“风”即指“情”，“骨”即指“辞”，为一般学人信奉，而本文以为尚待商榷。著者为解说“风骨”，涉及了陆机《文赋》与曹丕《典论·论文》，用以寻其真源，而且，并不局限于《雕龙》本书本篇之内（如黄、刘之方法），是其特点之一。其次，著者又旁征于六朝时代之画论精义，以与刘勰文论相为印证发明，于是“风”之本来词义，豁然得以昭晰，亦即不为“文论”本科所局限，此其二。再次，为解中国文论艺论何以特重于“气”，著者又从文字训诂的角度层次，阐明了中国诗文书画传统术语皆用“写”字的要义，指出“移写论”与“摹仿论”之貌似而实殊的要紧一义。此其三。凡此，于治“龙学”文论，应有相应的切磋价值 This article is to study and cure “Wen Xin Diao Long”, and take “Feng Gu” articles as the core focus to be explained. The essay on the subject of “Feng Gu” is solidly self-contained, but this article has its own point of view. For example, famous essayist Huang Kan, “Wen Xin Diao Long”, and Liu Yongji’s “Wen Xin Diao Long School Interpretation” Love “,” bone “means” speech “, for the general scholars believe, and this article is still to be discussed. Author for the explanation of ”strength of bone“, involving Lu Ji, ”Wen Fu“ and Cao Pi ”on the papers,“ to find its true source, and is not limited to ”Diao Long“ book this article (such as yellow , Liu’s method), is one of its characteristics. Secondly, the author contradicts the essence of the theory of painting in the Six Dynasties era and concludes with Liu Xie’s literary theory as the proof and invention. The original meaning of ”Feng“ is thus clear, that is, it is not confined to undergraduate education of ”literary theory“ The other two. Thirdly, in order to understand why the theory of Chinese literary criticism is more important than ”Qi“, the author clarifies the meanings of ”write“ in the traditional terms of Chinese poetic painting and calligraphy, The ”mimetic theory“ looks like the real thing is important. This third. All this, in the rule of ”dragon learning" literary theory, there should be corresponding study value