齊梁文學以文章的「雕飾」最為人知，這當然是從文學作品所得到的觀察，而「雕飾」以及其他如「用典」、「巧似」等創作技巧，也就成為齊梁文學最顯著的特徵。但以齊梁的文學理論而言，如蕭子顯、劉勰或鍾嶸談到「近世」文學風格時，對「雕飾」等創作技巧，往往採取了有些矛盾的論述方法：一方面有所批評，一方面「適度」地期待，樂觀其成。而這樣的論述也讓齊梁文學理論在「保守」與「新變」之間另外開出一脈「折衷派」。但「三派說」近年來頗受質疑，本文試著從「雕飾」以及其相關的書寫特徵出發，一則希望重新商榷齊梁文論的「三派說」；二則希望探討齊梁文論彼此主張的差異；三則希望試圖在「一元論」和「二元論」之外尋找其他的可能性。我們可能更進一步發現：所謂文學理論的「同一性」並不存在。

Chi-liang literature is famous of its “decoration,” but this view was based on observation of literary works. The decoration, the allusion using, and the description had become the most distinctive features of Chi-liang literature. However, scholars of literary theory, like Xiao Zi-xian, Liu Xie, or Zhong Rong, were ambivalent about these decorative skills. On the one hand, they criticized the “decoration.” On the other, they accepted them with reservation. The above elaboration had facilitated the compromised school. In this paper, I try to discuss the decorative carving and other literary skills. This paper has three objectives. First, I hope to rediscover the “three schools” of Chi-liang literary theories. Second, I hope to discuss differences among Chi-liang literary theories. Third, I hope to find the other route besides monism and dualism. Maybe we will discover that there is no “unity” of Chi-liang literary theories.