撇开《二十四诗品》是否为晚唐诗人司空图所作不论，单就《二十四诗品》这一中国古代文学理论批评的重要著作来做一探讨。《二十四诗品》的诗性朦胧蕴含了广阔的阐释空间和可能性。《二十四诗品》的特点之一，便是其交互性的充分显现：《二十四诗品》的文本本身具有交互性，这既表现在每一品的内部，也表现在各品之间；诗歌作品可以用《二十四诗品》做交互性的阐发，主要表现在不同的品可以用来解释同一首诗歌方面；《二十四诗品》是中庸与开放交互性生成的杰构，展现了既定与不定、古典与现代、本土与世界的贯通。

Putting aside whether The Twenty-Four Moods of Poetry was written by the late Tang poet Sikong Tu or not, and let us focus on the important work of Chinese ancient literary criticism alone.The Twenty -Four Moods of Poetry’ s poetic hazy quality contains room for interpretation and a range of possibilities.One of its characteristics is its fully showed interactivity:The Twenty-Four Moods of Poetry’ s text itself is interactive, it is demonstrated both within each mood and the moods between; Poetry can be elucidated interactively using The Twenty-Four Moods of Poetry, that is to say, different moods can be used to interpret the same poem; The Twenty-Four Moods of Poetry is a remarkable work which occurred through an interaction between the golden mean and openness, and it shows integrations between the established and the indefinite, the classical and the modern, the local and the world.

"诗品映衬人品,风格返现人格。"从这个意义上来说,《二十四诗品》绝对不是教我们如何作诗,如何对句,而是陶冶人的性情,求得人格上的提升。其实在二十四种意境之中,在虚拟人物背后,突出表现的是超然的人格理想、淡然的生命意识和自我完善、自然实现的精神。这对今人在修身养性方面有着极大的启示作用。

"Taste of poetry reflects taste of life and style shows personality in the opposite way." In this sense, "Twenty-four Poems" do absolutely not mean to teach how to write poems and how to cultivate the couplet but to develop human nature to promote personality. It is the aloof personality, light life consciousness, self perfection and the acceptance of natural realization that are prominently revealed in the twenty-four kinds of mood behind the virtual figures. Those spirits have got considerable inspiration for the modern people in self-cultivation.

《诗品》中共论及四位女性作家，分别置于上、中、下三品之中，形成了一个既相互独立又互相联系的微系统。这当中包含的品评标准很多，而以悲为美是一重要因素。这也体现了魏晋以来形成的美学思潮。

ShiPin mentions four female writers and they are divided into three different levels of grades. They constitute a kind of Microsystems, and in these systems they have commons as well as differences to each other. They are many kinds of evaluation standard of grade, but sadness is beauty is the most essential one in it. Yet can also reflect the ideological trend of aesthetic forming from Weijin dynasty.

依据新批评的审美视角,运用谢赫的绘画"六法",观照元代画家倪瓒与民国瓷绘家汪野亭的山水画作,从"经营位置"与"气韵生动"两个方面,比较倪、汪二人的山水画作,借引《二十四诗品》的"飘逸","疏野"两种美学风格加以总结,比较二人的绘画风格,发现山水画的真美。

Ni Zan is an artist in Yuan Dynasty while Wang Yeting is a porcelain painter in the period of the Public of China. From the perspective of New Criticism, this paper observes the landscape paintings by Ni Zan and Wang Yeting through the Six Painting Method by Xie He. In order to find out the true aesthetics of Chinese landscape painting, the two painters’ drawings are compared from the angle of “detached” and “quiet”, two terms borrowed fromER Shi Si Shiping.

《二十四诗品·豪放》以深广的中国传统思想和文学实践为基础,对广泛表现于古代文学作品中的豪放风格做了很好的理论总结和升华。《豪放》总结豪放风格的特征有四:开放不羁的心胸,充盈浩荡的元气真力,由真实本性而来的"豪"乃至"狂",瑰丽奇伟的"万象"。《豪放》既准确概括出了"豪放"的一般性风格特征,又与李白及其诗作关系尤密。《豪放》作者的理论融铸之功力和理论建构之贡献,令人赞佩。

Based on deep traditional Chinese thoughts and literary practice,the Twenty-Four Poetry,Boldness makes a good theoretical summary and sublimation of boldness widely expressed in the ancient literary works.In the book,this style has four characteristics:open and unruly mind,mighty vitality of life,boldness and even craziness coming from the true nature,and magnificent things of nature.These features are typical of the style of boldness,and are closely connected with Li Bai and his po-etry,from which we can see the author′s remarkable ability and contribution in theoretical generalization and construction.