“风骨”一词在汉语诗学批评中一直是一个很重要的理论范畴,汉文化中,它最早源于人物品评,随后转向诗文、书法、绘画等多个艺术门类。值得研究的是在我们多民族大家庭里,特别是在我国彝族发达的诗文论里,“风”、“骨”有别样的内涵,它们同样在自己的诗学理论中发挥了重要的作用。 “Feng Gu ” has always been a very important theoretical category in Chinese poetic criticism. In Chinese culture, it originated from personal criticism, and then turned to many art categories such as poetry, calligraphy and painting. What deserves our study is that in our multi-ethnic family, especially in the well-developed poetry and prose theory of our country’s Yi nationality, there are different connotations in “wind” and “bone”. In their own poetics theory as well, Played an important role.