漢末至魏，干戈動盪，卻也是文學自覺的年代，曹氏父子雅愛文學，與建安七子，一同開創當代文風，彬彬盛況，成果斐然。歷來關注三曹者，多以戰爭詩、樂府詩及書牘研究為主，亦多見側重其文學風格、生命無常之慨嘆。綜觀三人詩歌，情意真摯，語言精美，透過意象以喻己志，近來學者多所留心，舉凡風、霜露、飛鳥等，足見三曹父子詩歌中的各類意象，已漸受學者關注，然論及飛鳥者，僅著重於歸納賞析禽鳥形象，未能細膩分析各類鳥禽所蘊含之意義；且三曹父子個人性情、生命閱歷、才學能力亦多所差異，故作品亦大相逕庭。本文擬就三曹父子詩歌中所描繪的禽鳥意象，以史傳、詩話、筆記等資料為輔，進行深入探討，以期更加貼近三曹父子詩歌創作之精髓。

From the end of the Han Dynasty to the Wei Dynasty, it was the time warfare happened frequently. Although the situation was unrest, it was also an awakening period for literature. The Cao Family were fond of literature and brought it up with The Seven Scholars of Jian'an to a prevailing state. Nowadays, most of the study conductors usually focused on Three Caos' poems regarding warfare, Music Bureau Collection, and letters, and emphasized on their poetry styles and exclamatory expressions toward transient life. However, in recent years, there were more and more scholars studying on Three Caos' poetry metaphors such as wind, frost and dew, and flying birds due to Caos' exquisite words to express their ambitions in metaphors with their true heart. Even though, there was more attention on Caos' poetry metaphors, flying birds were merely categorized and appreciated without elaborate analyses. Different bird spieces meant different metaphors and meanings. In the other hand, Three Caos' personality, experiences and literature intelligence were divergent; therefore their poems were supposed to be distinctive respectively. The purpose of this study is to grasp the essences of Three Caos' poems through analyzing historic biographies, poetry reviews and notes to probe into the bird metaphors.