魏晋时代是美学思想鼎盛的时期。当人们把多数的目光聚焦于《论衡》、《典论》、《文赋》等倍受后世瞩目的著作时,却往往忽略了同处于这一时代的葛洪的代表作品《抱朴子》。从美学鉴赏的角度来说,《抱朴子》是一部非常有影响有价值的美学著作,尤其是《外篇》。葛洪的美学思想上承《淮南子》、《论衡》,下启《文心雕龙》,在魏晋美学思想发展史上有着承上启下的重要作用及意义。他的美学思想主要集中在两大方面,一是谈美,二是谈文学作品中的美。这两大部分实质上有着千丝万缕的联系:前者对于后者有着指导性的意义,而后者作为具体实践的例子印证了前者。为了叙述的方便,本文将这两大方面分别独立论述,并非完全隔离之意。 The era of Wei and Jin Dynasties is the peak of aesthetic thought. When people focus most of their attention on such works as “Lun Heng”, “Dian Lun” and “Wen Fu” that have attracted much attention from later generations, they often neglect Ge Hong’s representative works “Bao Pu Zi ”. From the perspective of aesthetics appreciation, “Baopuzi” is a very influential aesthetic book of value, especially “outer”. On Gehu’s aesthetic thoughts, “Huainanzi”, “Lunheng” and “Wenxindiaolong” are the starting points. It plays an important role and significance in the history of the development of Wei-Jin aesthetic thoughts. His aesthetic thoughts mainly focus on two aspects: one is to talk about beauty and the other is to talk about the beauty in literary works. These two major parts are in fact inextricably linked: the former has an instructive meaning for the latter, and the latter confirms the former as an example of concrete practice. For the convenience of narration, this article separately discusses these two aspects, which are not completely isolated.