在桐城文论中,从刘大櫆开始,就一直强调把文章的“阳刚、阴柔”之美作为古文的审美特征,到曾国藩这里,他主张从阳刚与阴柔之美的内在结构来把握和区分这两种不同风格的审美特征,并以此品评作家作品指导文体创作。虽然曾国藩也强调刚柔相济,但他在二者之中有所偏爱,更为看重文章的阳刚之美。 In Tongcheng literary theory, starting from Liu Dakun, he always emphasized that the beauty of the article “masculine and feminine” should be taken as an aesthetic feature of ancient prose to Zeng Guofan, who advocated the distinction and mastery of the inner structure of the masculine and feminine beauty Different types of aesthetic characteristics, and to criticize the writer’s work to guide the stylistic creation. Although Tseng Kuo-fan also emphasized the combination of hardness and softness, he has a preference for both and places greater emphasis on the masculine beauty of the article.