指文學(xué)藝術(shù)作品中清遠(yuǎn)淡雅的意蘊和韻味。原本是對人物的風(fēng)度神情的評價，魏晉時人認(rèn)為人格之美在于內(nèi)在精神氣韻，不同于漢代人推重外形。后來這一概念進入書畫理論，指作品內(nèi)在的精神韻味。明代人從書畫理論引入詩歌理論，使神韻成為對詩歌風(fēng)格的要求，清代王士禎是“神韻說”的發(fā)揚光大者，他特意編選了《唐詩神韻集》，借編選理想的詩歌闡發(fā)自己的審美趣味，又在詩歌理論著作中大力倡導(dǎo)，構(gòu)建起獨具特色的詩歌藝術(shù)審美體系，從而使“神韻說”得以完善定型，最終成為清代詩學(xué)的一大流派。
This term refers to the subtle elegance of literary and artistic works. It was originally used to depict a person's mien and manner. During the Wei and Jin dynasties, the propriety inherent in a person was valued, whereas during the previous Han Dynasty, a person's external appearance was stressed. Later on, this concept was incorporated into the theory of calligraphy and painting to refer to the elegant subtlety of a work. In the Ming Dynasty, the concept was extended to the theory of poetry, and elegant subtlety became a requirement for composing poetry. Later, Wang Shizhen of the Qing Dynasty further developed the theory of elegant subtlety. In compiling 'The Elegant Subtlety of the Tang Poetry,' he elaborated on his aesthetic views. In his writings on poetry theory, Wang Shizhen championed these views and created his own unique poetical aesthetics, enriching the theory of elegant subtlety, and making it a major school of the Qing-dynasty poetics.
引例 Citations：
◎詩之佳，拂拂如風(fēng)，洋洋如水，一往神韻，行乎其間。（陸時雍編《古詩鏡·詩鏡總論》）
好詩如同拂面的清風(fēng)，如同流過的浩大河水，仿佛有種神韻行進在詩的字里行間。
Just as gentle breeze touching one's face and the river flowing past, a good poem has elegant subtlety permeating its lines. (Lu Shiyong: A Comprehensive Digest of Good Ancient Poems)
◎予嘗觀唐末五代詩人之作，卑下嵬瑣，不復(fù)自振，非惟無開元、元和作者豪放之格，至神韻興象之妙以視陳隋之季，蓋百不及一焉。（王士禎《梅氏詩略序》）
我曾經(jīng)讀唐末五代時的詩人作品，格調(diào)卑下猥瑣，氣勢不振，非但沒有開元、元和年間詩作的豪放風(fēng)格，在神韻、興象的絕妙方面，甚至連陳、隋衰微時期的詩作的百分之一都比不上。
I have read the works by poets of the late Tang Dynasty and the Five Dynasties and found their poetry mean-spirited, trivial, and depressed. They were far less bold and daring than those poems written between the Kaiyuan and Yuanhe periods of the Tang Dynasty. Worse still, they did not have the slightest traces of the elegant subtlety and inspiring imagery that were evident in the poetry written in the State of Chen during the Northern Dynasties and in the Sui Dynasty when poetry was already in decline. (Wang Shizhen: Foreword to Poetry by the Mei Family)
（推薦：教育部 國家語委 供稿：北京外國語大學(xué) 外語教學(xué)與研究出版社）
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