方东树的《昭昧詹言》是桐城派重要的诗学论著，而“法”“气”是《昭昧詹言》中极为重要的两个范畴。本文共分四章对方东树的“法—气”观进行论述。

第一章主要介绍《昭昧詹言》所面临的诗学语境。清代中期对宋诗的推崇尤其是桐城派对宋诗、明诗价值的肯定对方东树产生了重要影响，而桐城派前人的“法”“气”理论亦为《昭昧詹言》的“法—气”观提供了诸多可贵的见解。《昭昧詹言》已经显现出清代学人“兼取唐宋”的诗学趣味。方氏能够游刃有余地从语言的层面客观分析诗歌的艺术价值，从而把握诗歌语言的本质规律。

第二章对《昭昧詹言》中“法”“气”两个范畴的基本内涵进行分析。在《昭昧詹言》中，“法”“气”是方东树论诗、评诗最重要的两个范畴。“法”主要指诗歌创作的法则、方法。“气”包含“作品之气”与“作者之气”，但绝大多数都指“作品之气”，即作品语言表现出来的灵动变化的、可供审美的生命力量。指“作者之气”时，多与作家的天赋、性情有关。本文主要讨论的“气”是与“法”相对应、联系的“作品之气”。

第三章主要论述方东树如何以“法”“气”论诗。方东树的创作论中“法”“气”两个范畴之间有如下关系：首先是“法”“气”皆要，方东树认为二者都是诗歌创作中不可替代的要素；其次是“法”可济“气”，此中之“法”是“章法”，即诗歌创作中用特定的“章法”可使诗之“气”更加跌宕曲折；最后是“法”可伤“气”，此中之“法”是“字句之法”，当作诗太重“字句之法”时，会对诗之“气”有所妨害。

第四章主要论述方东树如何以“法”“气”评诗。方氏往往从“法”“气”两个角度对诗人的创作特色进行总结，且十分推崇“法”“气”兼备的诗人诗作。杜甫、李白、韩愈、苏轼、黄庭坚五位诗人是方东树眼中“法”“气”兼备的典范，但细究之，又能从各处寻其高下。这既体现了方东树对诗之“法”“气”的精微认识，也表现出方东树诗歌批评的独特性、系统性与综合性。

Fang Dongshu's Zhao Mei Zhan Yan is an important literary theory work of Tongcheng School, in which "Fa" and "Qi" are two essential concepts. This paper is divided into four chapters to discuss the view of "Fa and Qi" in Fang Dongshu's Zhao Mei Zhan Yan.

The first chapter mainly clarifies the poetic context of Zhao Mei Zhan Yan. In the middle of Qing Dynasty, the praise for Song poetry, especially the approval for the value of Song poetry and Ming poetry in Tongcheng School, exerted a profound influence on Fang Dongshu, and the precursors' theory of "Fa" and "Qi" of Tongcheng School also offered many valuable insights for the view of "Fa and Qi" in Zhao Mei Zhan Yan. This poetry work witnessed the aesthetic taste of valuing both Tang poetry and Song poetry. Fang is able to objectively analyze the poetic value from the perspective of language, so as to grasp the essentials of poetic language.

The second chapter analyzes the basic connotation of "Fa" and "Qi". Among the main poetic points of Zhao Mei Zhan Yan, "Fa" and "Qi" are two essential concepts. "Fa" mainly refers to the principles and methods of writing poetry. "Qi" refers to both "the Qi of works" and "the Qi of poets", but mostly refers to "the Qi of works", which means the vibrant aesthetic vitality that runs through the poetry. "The Qi of poets" refers to the talent and disposition of poets. This paper mainly discusses "the Qi of works" , which is paralleled by and closely related to "Fa".

The third chapter focuses on Fang Dongshu's poetic theory of "Fa" and "Qi". The relationships between these two concepts are as follows. Firstly, Fang Dongshu believes that both "Fa" and "Qi" are irreplaceable elements in writing poems. Secondly, "Fa", especially "Zhangfa"(the way poets connect sentences), can be used to enhance "Qi". The use of specific "Fa" in writing poems can make "the Qi of poem" more varied and soul-stirring. Finally, "Fa" can also have a negative influence on "Qi", especially when "Zi Fa"(the way poets select words) or "Ju Fa"(the way poets make sentences) is abused.

The fourth chapter mainly discusses Fang Dongshu's poetry review with "Fa" and "Qi". Fang Dongshu summarizes the characteristics of poems from the two perspectives of "Fa" and "Qi", and highly praises the poets who did extraordinarily well in these two aspects. Five poets mentioned in this chapter are regarded as epitome of writing poems in Zhao Mei Zhan Yan. However, a closer examination of them will show the subtle differences between them. This not only reflects Fang Dongshu's delicate understanding of "Fa" and "Qi" of poetry, but also shows the uniqueness, organization and comprehensiveness of Fang Dongshu's poetic criticism.