文章结构论是立足于文章本体的内部研究，其关注对象是文章内部的整体结构，并在历史考察的基础上总结文章结构发展演变的内在规律。 在六朝至唐代这一历史时期，诸多文论家、诗论家都对文章结构有了自觉认识和系统总结。刘勰《文心雕龙》中的文章结构论代表了六朝文论家对文章内在结构的思考所达到的最高水平。刘勰的文章结构论，涵盖各种文类体裁，既涉及论说性、实用性强的应用文类，也包含抒情达志、文辞优美、审美性强的文学文类。他所总结的文章结构的基本模式是“意—言”二分，“情—辞”“意—文”“义—词”“情—采”等二分是其具体形式。在此基础上又衍生出了“三分”（《风骨》篇的“风—骨—采”）、“四分”（《附会》篇的“情志—事义—辞采—宫商”）、“六分”（《宗经》篇的“情—风—事—义—体—文”）等更细致的文章结构划分模式。 随着田园诗、山水诗、咏物诗等以写景状物见长的诗歌写作的兴盛，以及借景抒情类艺术表现手法的成熟，唐代集中涌现出了一系列新的创作经验的总结和新理论概念，文章结构论的基本范式也随之逐渐发生转变。最值得注意的一点是“物”一类因素成为文章结构的重要组成部分，“象”“境”“景”等概念被纳入到文章结构论之中，殷璠的“兴象”说，刘禹锡、皎然等人的诗“境”论，司空图的“象外景外”与“味外韵外”说等，是唐代诗体结构论的代表。“象”“境”“景”都属于文章结构中的客观物象层，可总归于“物”这一范畴。这表明“物”范畴在唐代被正式纳入文章结构论之中。 在六朝文论中，“物”的概念虽然具有很重要的理论地位，在刘勰等人的文论体系中也占据一席之地，却从未被自觉纳入文章结构论之中。从“物”概念与文章结构的关系着手，梳理文章结构论从六朝至唐代的历史演变，对于认识中国古典诗学发展的轨迹，应该是一个具有启发意义的新思路。

Being a theory for theoretical study based on text ontology, the theory of text structure provides an important perspective for studying the Chinese ancient literary theories. The theory takes as its object the internal text structure, focuses on the general structure rules that govern a text not partially, but as a whole, deal with the relation between different texts. The spontaneous sense for text structure in ancient literary theories has already been known in Wen Xin Diao Long, a milestone work that summarized the literary theories during the Six Dynasties. The basic paradigm of "The Theory Of Text Structure" in Wen Xin Diao Long is "Meaning-Lyric" dichotomy, which can be transformed into different modes according to different types of article styles, "Emotion-Speech"；"Meaning-Speech"；"Meaning-Words";"Emotion-Lyric". In addition, it can be derived into "Three Parts" "four Parts" and "Six Parts". The work touched upon various literary genres. Its structure theory on poetry had a significant impact on the poetics in later generations, especially on the text structure view for poetry. Generally, Liu’s thoughts on text structure for poetry showed a spontaneous theoretical understanding, represent the theoretical thinking of scholars at his time for the internal rules of literature. In the Tang Dynasty, with the emergence of a series of new poems, theoretical concepts and categories, the basic paradigm of "the Theory of Text Structure" gradually changed. One of the most noteworthy points is that the concepts of "image", "scene" and "scene" have been incorporated into the framework of "the Theory of Text Structure" and become the constituent elements of the article structure: Yin Juan's "Xing Xiang", Liu Yuxi , Jiaoran’s "Jing", and Sikongtu's "scene outside the image" is a typical representative. "Image", "Context" and "Scene" belong to the "objective image" layer in the structure of the article, which can be summarized into the "Object" concept. This shows that in the Tang Dynasty, "Object" has entered the "the Theory of Text Structure". In the Six Dynasties, though it had a very important theoretical position, it was in the theoretical system of Liu Xie and others. If we start from Wen Xin Diao Long to compare the text structure theory in the poetics at Six Dynasties and its counterpart in the poetics at Tang Dynasty, we can obtain the change of the literary ideas and text structure concepts in the period from the Six Dynasties and Tang Dynasty. From the “phenomenon” of this change of the theoretical thinking, we can trace to the sources. From the perspective of the text structure theory, the difference of the "object" category in different theoretical systems can provide new ideas for re—recognizing the development of Chinese classical poetics, and thus can offer some inspiration.