The Confucian philosophy is a life philosophy of establishing oneself and others.Its poetry construction was originally based on social ethics and its goal was to enrich the world under heaven, beautify custom,and perfect human dignity.In Wei,Jin and the Six dynasties,due to the influence of metaphysics that upheld the vogue of natural aesthetics,the Confucian poetry system that focused on ethics had undergone imperceptible shifts.One the one hand,it introduced the conception of figure appraisal such as “character”and “spirit”into the literature critique.On the other hand,natural aesthetic images were used to supplement or even replace ethical aesthetic conception.For example, the conception of “blossom and fruit”that had repeatedly appeared in Liu Xie’s Dragon-Carving and the Literary Mind undertakes the aesthetic function of conceptions such as “literature quality,”“beauty,”and “humaneness.”The existence of such a phenomenon not only is compatible with the contemporary thoughts of metaphysics and Buddhism but also embodies the Confucian poetry whose inducement is “the sense in moving things.”In nature,it is a life poetry,which per se contains the poetic element of natural aesthetics.%儒家哲学是关乎立己成人的人生哲学，其诗学建构亦以社会伦理道德为始基，以化成天下、敦美风俗、完善人格为旨归。降及魏晋六朝，这一偏重伦理教化的诗学体系，因应玄学思潮下崇尚自然之审美风尚，开始发生令人不易觉察的时代转换：一方面将人物品藻的范畴(如“风骨”、“形神”等)引入文艺批评；另一方面，又出现了以自然化的审美意象来补充甚至替代伦理化审美范畴的现象，如刘勰《文心雕龙》中反复出现的“华实”这一范畴，无形之中承担着“文质”、“美善”等范畴的审美功能。此一现象之发生，既与玄学及佛学兴盛的时代思潮若合符节，同时，也体现了以“感于物而动”为诗歌发生诱因的儒家诗学本质上是一种生命诗学，本身就蕴藏着自然审美的诗性因子。
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