「景陽體」乃指詩歌中「尚巧似」的藝術風格，此種創作技巧由西晉詩人張協首倡，鍾嶸於《詩品》中稱此種風格為「景陽之體」。張協所以雄於潘岳、靡於太沖，卻能於潘左之外別出一格，根本原因正在於「巧構形似之言」。鍾嶸《詩品》一書中，評論具有「巧似」風格者，除張協外，正是謝靈運、顏延之、鮑照三家，得見「貴尚巧似」成為晉宋之際，尤其是元嘉詩壇的重要審美風尚，而這樣的特質，實為祖襲張協詩歌「巧構形似之言」而來。然在張協詩歌的基礎上，靈運巧似而「逸蕩」，延之巧似而「拘束」，鮑照巧似而「不避危仄」，三人又各自發展，呈顯出不同的詩歌風貌，蔚為大家。本文欲彰顯「景陽體」對於元嘉詩風的影響，嘗試就張協詩歌「巧構形似」的藝術特色切入探析，並及於元嘉三家詩歌的承繼與轉化，分別就其同異之處略作析論。

As classified by poetry, the skill for "scenery description by vivid words" is named as "Jin Yang Style". Zhang Xie made use of this skill well for his poems, and won a great achievement as compared to others. At the same time, more followers employed this style for writing from Zhang Xie's original during Jin, Song Dynasties. Such as Xie Ling-Yun, Yan Yan-Zhi, Bao-Zhao, classified and commented by "Shi-Ping" (a poem assessment written by Zhong Rong). On the basis of Zhang Xie, differences are developed from those poetry, Xie Ling-Yun, Yan Yan-Zhi and Bao-Zhao arose three different kinds of characteristic, as ethereal, restrained and abstruse styles. In this paper, the effects of Yuan Jia Poetry by "Jin Yang Style" are well studied, and more details from similarity and diversity are researched and analyzed from those poetry mentioned before.