指作品的氣勢與骨力。多形容文學藝術作品所呈現出的剛健勁拔的精神氣度和力度美。“氣骨”這一術語出現于南朝，與當時的人物品評風氣相呼應，用來形容詩文、書法、繪畫等文學藝術作品中勁健的精神氣度和內在骨力，與“風骨”含義接近，而與“風姿”（作品外在的風貌姿態）相對。

This term refers to the emotional strength and the vitality of a literary work. It was first used during the Southern Dynasties, resonating with the social practice of making comment on people. The term was used to describe the emotional vigor and forcefulness of artistic works such as poetry, essays, calligraphy, and paintings. It is similar in meaning to fenggu (風骨), but contrary to fengzi (風姿), a term meaning external elegance of an artistic work.

引例 Citations：

◎言氣骨則建安為儔，論宮商則太康不逮。（殷璠《河岳英靈集·集論》）

論氣勢與骨力，能與建安時期的作品相媲美；論音節與韻律，能超過太康時期的作品。

In terms of its emotional vitality and forcefulness, the poem stands equal to works of the Jian'an Reign period; in terms of its musicality and rhythms, it surpasses the works of the Taikang Reign period. (Yin Fan: A Collection of Poems by Distinguished Poets)

◎觀魯公此帖，奇偉秀拔，奄有魏晉隋唐以來風流氣骨。（黃庭堅《題顏魯公帖》）

觀顏真卿這個法帖，奇特雄偉，秀美挺拔，全然具備魏晉隋唐以來的神韻氣骨。

This piece of calligraphy by Lord Lu (Yan Zhenqing) is amazing, vigorous, mellow, and forceful, fully illustrating the admirable emotional vitality and strength that characterized the style since the Wei, Jin, Sui and Tang dynasties. (Huang Tingjian: Inscription on Lord Lu's Calligraphy)

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供稿：北京外國語大學 外語教學與研究出版社

責任編輯：錢耐安