Abstract：Abstract: The exploration of the incompatibility of the connotation of “Yun” in Wei Jin and the Six Dynasties and its aesthetic distinction is necessary for the academic study of this neglected historical phenomenon. The purpose is to explore difference so as to present the complex feature of“Yun”. In the development of literary aesthetics, there is convergence and divergence in definition and use of the multiple meanings of “Yun”, and the latter is earlier than the former. Research shows that the currently available evidence which shows the character“Yun” originated from the documents of Pre-Qin and Han dynasties is either unreliable or doubtful, and that the interpretation of “Yun” (then interpretated as “harmony of sound (音和)”) did not appear until the Cao Wei period of the Three Kingdoms. People in Jin dynasty judged people by“Yun”(one's spirit and temperament) rather than appearance, and even worship the eccentrics who enjoyed personal freedom and spontaneity as very charismatic people (people with “da Yun”). Later, the painting theories and literary theories in the Southern Dynasty diverged in aesthetic ideas. The former “she sheng (舍声) （valued spirit above form）”, and the latter “ji sheng (即声)( attached importance to harmony of sound)”. “Yun” in Xie He's Gu Hua Pin Lu(Classified Record of Painters of Former Times, 古画品录) does not refer to the beauty of harmonious form but spirit resonance (or vivid representation). Its philosophical basis is not the concept of yuán qì (元气) ( an innate or prenatal qi) in the Han Dynasty but the argument about form and spirit of the metaphysics in Wei and Jin Dynasties, and it conforms to the theoretical system of Chinese aesthetics of vivid representation and freehand creation. Liu Xie mentioned “Yun” 33 times in his work Wen Xin Diao Long(Carving a Dragon at the Core of Literature,文心雕龙). “Yun” in Liu's work is a concept of phonology meaning harmony of sound, and its philosophical basis is the Confucian doctrine of mean and harmony(“中和” 学说). Liu Xie's adherence to the original meaning of “Yun” echoed the academic fashion that emphasized the discussion of rhyme at that time. He ignored the new meaning of “Yun”, which is the limitation in understanding “Yun”. The metaphysical discussion of “rhyme” in literary theory did not make a breakthrough until the Song Dynasty, when “Yun” was interpreted as “rewarding and lasting impressions on audience” and literary theory and artistic theory finally converged in the understanding of “Yun”.
陈玉强. 魏晋六朝“韵”的内涵建构与审美分野[J]. 《深圳大学学报》（人文社科版）, 2022, 39(2): 24-33.
CHEN Yu-qiang. Connotation Evolution and Aesthetic Distinction of “Yun” in Wei Jin and the Six Dynasties. , 2022, 39(2): 24-33.
2022, Vol. 39 
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