“韵”范畴是中国古代文论的重要审美概念，宋代士大夫对“韵”范畴的关注以及宋代韵”论的发展与成型，与宋代士大夫的文化心态具有密切联系。本文试图以宋人范温《潜溪诗眼·论韵》篇的具体论述为线索，结合其他诗论中的观点，阐释宋代“韵”论的本质内涵，并从多方面探求与“韵”的审美内涵相对应的宋代士大夫的文化心态，揭示宋代士大夫尚“韵”的深层原因。 宋代诗学“韵”范畴的起源与自魏晋以来的书画论“韵”传统有着密切的联系，魏晋画论中关于“韵”范畴的理论思想是宋代文人论“韵”的理论基础。宋代文人在对书法绘画艺术的广泛参与中深入思考书画创作的机理，创作了大量书画理论，发现了书画艺术与文章创作的相通之处，并将书画创作鉴赏思想引入到诗学领域。宋代文人“书画与诗文一理”的思想是“韵”范畴在宋代诗学繁荣发展的重要契机。 范温提出的“韵生于有余”的命题揭示了宋代诗学领域“韵”论的本质内涵，体现了宋代士大夫独特的诗学审美趣味。宋人“韵”论的应有之义包括：博学广识、技艺精湛的实现基础，“备众善而自韬晦”的生成机制，以及超越文本有限存在的最终目标。与这些应有之义相对应的，一是宋代士大夫在文化和经济资源的双重富足的社会条件下形成的尚学精致的心态，二是在政治打击、心性之学等因素影响之下形成的内敛心态，三是从庄禅思想中汲取超越困境的力量而形成的随顺自在心态。 宋人士人对“有余之韵”的追求从书画艺术扩展到诗学领域，又从诗学领域扩大到修身、治学、治国、平天下等各个领域，范温对“有余之韵”的进一步探讨，显示出宋代士人对圣贤之德行、学养、胸襟的向往，对极致人格之美的追求，以及通过超越实现成圣理想的意识。通过比较范温“有余之韵”论与魏晋人物品评中的“韵”论可以发现，宋人眼中的“韵”不但是一个代表极致之美的审美范畴，更重要的是，它已经演进为一个方法论的存在，是士大夫在艺术审美、人格修养甚至功业智策等方面实现悟入的重要法门。这正是宋代士人在诸多文化领域尚“韵”的重要原因。

The category of "Yun" is an important aesthetic concept in ancient Chinese literary theory, but in the Song Dynasty, the attention and development of the scholars-officials to the category of "Yun" were closely related to the cultural mentality of the literati and bureaucrats. It is very important for the independence and shaping of this concept. This paper attempts to take Fan Wen's "Qian Xi Shi Yan, on Yun" as the clue, combining with other poetical viewpoints, the essence of the category of "Yun" in the eyes of the scholars of the Song Dynasty is interpreted as "Yun was born from affluent", from various aspects of the life of the literati and officials, this paper explores the cultural mentality of the literati and officials corresponding to the aesthetic connotation of "Yun", from which we can understand the deep reasons for the "Yun" of the literati and officials in the Song Dynasty. The origin of the category of "Yun" in Song Dynasty poetics is closely related to the tradition of "Yun" in calligraphy and painting theory since Wei and Jin dynasties, which can be said that the theoretical thought of the category of "Yun" in the painting theory of Wei and Jin dynasties is the theoretical basis of the theory of "Yun" of the literati in the Song Dynasty. The scholars in the Song Dynasty think deeply about the mechanism of calligraphy and painting in the extensive participation of calligraphy and painting art, contacting and creating a large number of calligraphy and painting theory, to find out the similarities between the art of painting and the writing of the article, therefore, the calligraphy and painting appreciation thought is introduced into the field of poetics. The thought of "the Calligraphy Painting and Poetry Have the Same Principle" in Song Dynasty is an important opportunity for the prosperity and development of the category of "Yun" in poetics. Fan Wen's "Yun overflows from the ultimate" embodies the essential connotation of "Yun" in the poetic field of the Song Dynasty, which reflects the unique aesthetic taste of poetics in Song Dynasty. The proper meaning of the Song Dynasty's theory of "Yun" should lie in: the foundation for the realization of a wide range of knowledge and exquisite skills, the preparation and formation mechanism of “The great preparation and Introverted performance", and the ultimate goal of transcending the existence of a limited text. Corresponding to these proper meanings, which is the Song Dynasty literati officials in the cultural and economic resources of the dual rich social conditions formed a sophisticated mentality of learning, the introverted mentality formed under the influence of such factors as political attack, mental science, etc., and the life of the world with the ease of mind, that is to put down the limited, not persistent. The Song Dynasty extended the care of "Yun overflows from the ultimate" from the art of painting and calligraphy to the field of poetics, and expanded from the field of poetics to the field of scholars' self-cultivation, study, governing the country, and leveling the world, in his further discussion of "Yun overflows from the ultimate", Fan Wen showed the scholars' yearning for the virtue, education, and mind of the saints in the Song Dynasty, the pursuit of the beauty of the ultimate personality, and the realization of the ideal of sanctification through transcendence. By contrasting Fan Wen's "Yun overflows from the ultimate" with the "Yun" category in the Wei-Jin Dynasty, it can be found that, the "Yun" in the eyes of the Song Dynasty is not only an aesthetic category representing the supreme beauty, but more importantly, it has evolved into the existence of a methodology and is an important way for the literati and officials to realize their realization in all field. This is the important reason of Song Dynasty scholars in many cultural fields still "Yun" .