楊萬里的「誠齋體」以能「盡棄諸家之體」的新創文機受到高度推崇。晚近對於楊萬里與其「誠齋體」的研究，多偏重作品本身藝術風格的探討，較少討論它在宋詩發展脈絡中的歷史意義。「誠齋體」的創新展現在它能突破宋詩創作無所不在的「影響焦慮」，使詩歌創作回歸自然興發的本質，解決許多南宋詩人的創作困境。「誠齋體」和江西詩派間的關係，不在於句法字法的承傳，而是在內在精神的相似，其中都帶有求新求奇的傾向。本文拈出楊萬里詩論中「味」與「法」的線索，來說明「誠齋活法」和「江西詩法」間的離合關係，並以此為其詩學的關鍵。「以味繫之，不以形似」之「法」，是楊萬里對江西精神承傳的解釋，也是他自己學詩歷程「入於法內」最後卻能「出於法外」的最好註腳。

The Compositions of Young Wan-Li's Cheng-Zhaistyle (誠齋體) are innovative creations, and break away from the previous. There are lots of discussions about the art form of Cheng-Zhai style. But few concerned about its historical meaning in the Sung poetics. The main purpose of this article is concentrated on the historical and cultural background of the Cheng-Zhai style. The relationship between Cheng-Zhai style and Chiang-his poetics(江西詩派) shouldn't be focused on the formative transformation but spiritual inheritance. In this article, the hints of the "taste" and "approach" in the Young's poems are discussed and taken as the critical points of his poems. "Connected with taste, not approach" is the expression of Chine-his school poetics spirit given by Wan-Li Young. Also, that expression is the best comment of his progress of learning poems.