本论文以陆机的文体观及创作为研究对象，重在把握其特点与历史定位，分五章进行论述。

第一章主要研究陆机在《文赋》中提出的文体论。根据魏晋南北朝文体发展史可知，文体作为文章之“体”，指向文章自身的整体性存在。文体一方面具有多种类型和丰富的内部结构，一方面还与作家的禀气、个性、才力以及自然环境、社会现实等因素紧密关联，因此文体又是一个包含多个维度内外部关系的范畴。陆机的文体观主要体现在他对“体—物”关系这一外部关系的思考，这是陆机的创造性认识，而通过对“体—物”关系的解读来把握陆机在论述文体、体裁、创作理论时所呈现出的“穷形而尽相”的特征则是本论文的创新所在。

第二章重点分析陆机的拟作。《古诗十九首》素有“五言之冠冕”的美誉，陆机将之作为学习的范本，在模拟的同时还与古人相较量以呈才，留下了《拟古十二首》。这十二首诗虽是模拟之作，但陆机试图破旧立新，一改古诗的质朴平实，呈现出繁缛富丽、典雅高华之貌，既确立了新的诗歌写作规范，又为自己获得了声誉，从而步入仕途。陆机的拟乐府借传统框架以抒己怀，在古中显变。这些拟作都体现了《文赋》中“袭故而弥新”的文论观点对其文体创作的影响。

第三章剖析了太康时期的三位代表诗人——陆机、潘岳与左思的诗作。陆诗具有丽辞、流韵、悲情、深意等既与时代风尚相同又独绝之处，与“诗缘情而绮靡”的文体观相一致。潘诗情感细腻、深沉真挚，悲恸哀婉有余而气量不足，因而陆诗更显格局。左诗笔调简劲挺拔，以“风力”见长，而陆诗不重风力遒劲，重辞藻雕琢，追求“穷形而尽相”，因而陆诗在技巧上更胜一筹。相较之下，陆机“太康之英”这一美誉名副其实。

第四章研究陆机的赋。陆机的状物赋描摹精细、明晰贴切，言情赋深切真挚、哀婉动人，隐逸游仙赋格调绝俗、寄有深意，乐赋风格绮丽、余音绕梁，文论赋构思精巧、事理博富，是“赋体物而浏亮”这一文体观的具体体现。此外，陆机对赋这一文体进行了创新，不仅在《文赋》中以论入赋，使之既有论的逻辑论辩性又有赋的铺陈描述性，还以诗之长补赋之短，将赋进行诗化，这些则体现了他既重辨体又能适事而变的“虽离方而遁员，期穷形而尽相。”的主张。

第五章聚焦陆机所作之骈文。陆机的《演连珠》五十首堪称逻辑推理与艺术技巧的完美结合，为后世文人创作连珠树立了典范。陆机为了追求“穷形而尽相”，在描摹事物、表情达意时总是力图说全、说透，并以华美的形式加以展现，这一点也体现在他对应用文体的创作上。他的骈体应用文写得对仗精工、文质相宜、情理并重，推动了骈文的成熟。

This paper takes Lu Ji’s concept of genre and creative work as the research object, focusing on the characteristics and historical orientation of Lu Ji's concept of genre and creative work. It is divided into five chapters.

The first chapter mainly studies the theory of genre proposed by Lu Ji in Wen Fu. According to the development history of Literary Entity in the Wei, Jin, Southern and Northern Dynasties, Literary Entity as the " body" of the article, is the overall existence of the article itself. On the one hand, the Literary Entity has a variety of types and rich internal structure. On the other hand, it is also closely related to the writer's temperament, personality, talent, natural environment, social reality and other factors. Therefore, Literary Entity is a category of multiple dimensions with internal and external relations. Lu Ji's concept of genre is mainly reflected in his thinking on the external relationship of " genre -thing", which is the creative understanding of Lu Ji. The innovation of this paper lies in the interpretation of the " genre -thing" relationship to grasp the feature of " exploring the shape and exhausting the reality" presented by Lu Ji in discussing Literary Entity, genre, and creative theory.

The second chapter focuses on analyzing the Lu ji's imitation works. Nineteen Ancient Poems is known as the " Crown of Five Words". Lu Ji takes it as a model for learning, he also competes with the ancients to show his talent, creates the " Twelve Imitations of the Ancient Poems". Although these twelve poems are simulate, Lu Ji tries to innovate by replacing simplicity with extravagance and elegance, which not only establishes new standards for poetry writing but also earns him a reputation and enters the official career. Lu Ji's imitation of Yuefu uses the traditional framework to express his own feelings and pursue innovation. All these works reveals the influence of the literary theory of " following the beaten track to attain greater novelty" in Wen Fu on Lu Ji's literary creation.

The third chapter analyzes and compares the poems of three representative poets of Tai Kang period -- Lu Ji, Pan Yue and Zuo Si in detail. Lu Ji's poems have beautiful words, harmonious rhythms, sad emotions and profound meaning, which are not only the same with the fashion of The Times but also unique, and reflecting the concept of " Lyric poetry traces emotions daintily". The emotion of Pan Yue's poems is delicate, deep and sincere. His poems are more sorrowful, but lacks magnanimity, thus Lu Ji's poems are bigger in mind. Zuo Si's poems are known for " strength of character", while Lu Ji's poems are not as strong as the " strength of character". Lu Ji's poems emphasize the carved rhetoric and pursue " exploring the shape and exhausting the reality", so Lu's poems are superior in technique. The reputation of " the outstanding figures of Tai Kang" is truly worthy of the name.

Chapter four studies Lu ji's Fu. The object-chanting Fu is clear and appropriate. Lyrical Fu is sincere, mournful and touching. Hermit Fu's style is unique and have deep meaning. Music Fu's style gorgeous and the tune lingered in the room. The literary theory Fu's conception is exquisite and contains many theory. Lu ji's Fu reflects the concept of " Fu embodies objects brightly". In addition, Lu Ji makes innovations. Lu Ji not only combines Argumentative Writing and Fu in his Wen Fu, making it both logical and descriptive, but also supplements Fu's shortcomings with the strengths of poetry, making Fu poetic. These reflect his views of" He may depart from the square and deviate from the compasses; for he is bent on exploring the shape and exhausting the reality".

Chapter five focuses on the parallel prose written by Lu Ji. Yan Lianzhu is a perfect combination of logical reasoning and artistic skills, which sets a model for the later generations. In order to pursue" exploring the shape and exhausting the reality", Lu Ji always strives to describe things and expressions in a comprehensive and transparent manner, and presents them in a beautiful form, which is also reflected in his creation of practical writings. Lu Ji also tries to use the parallel prose to explain and express the meaning. His parallel practical writings pays attention to antithesis, emphasizes both literary grace and content, balances emotion and reason, which promoting the maturity of the parallel prose.