摘要/Abstract

“风”与“骨”这两个概念在先秦两汉时期已经具有指向人的精神品性、生命状态的文化内涵。与先秦两汉时期人们侧重于从伦理品格、功利价值方面去认识人的价值不同，魏晋人物品藻多以“风”论人，它主要着眼于人的外部风貌中所体现出来的情感、气质、风韵精神。在魏晋以来强调文学作为作家“情性”的外化，并因此可以成为其生命价值的体现的文化环境中，刘勰从儒家学者的立场出发，针对齐梁浮靡文风，把指向人的生命精神的“风骨”概念移用到文论领域，并赋予它儒家人格理想的底蕴。

“Feng” and “gu” have had the cultural implication as representation of individual inner spirit and life state in the Xian Qin and two Hans. Different from people in Xian Qin and two Hans that they understood individual in the aspects of ethical character and utility value, People in Wei and Jin era often apply “feng” to evaluation of person, and “feng” mainly emphasizes the sensibility, temperament, style and spirit represented from individual outer style and features. Liu Xie lived in the cultural context of Wei and Jin when thinkers stressed that literature is outer representation of natural instincts and thus literature is outer representation of life-value. Being dead against frivolous literary fashion in the Qi and Liang era, Liu Xie transferred the “fenggu” concept signifying life spirit to literary field and advocated the kind aesthetical spirit named “Feng Qing Gu Jun” from the position of Confucian scholar.