漢賦中詠物之作佔的比例相當高，亟待探討。本文首先指陳：以物撰賦的產生徐徑有二。其次，經由指出包括詠物在內的漢賦多有固定的敘寫模式，以見王逸〈機賦〉的特點。第三，那些敘寫模式中，物、人雙寫實居大宗，以劉安〈屏風賦〉為例，說明當從講唱藝術的角度方能欣賞這類賦作之佳處。第四，藉?衡〈鸚鵡賦〉說明：物、人雙寫雖為詠物賦的主流，但既是一門講唱藝術，兼負娛人的使命，理解文義時，不宜篇篇附會寓意。第五，自展現賦物用意的光譜，一窺朱穆〈鬱金賦〉就物詠物，不復說理抒情於文學史上的意義。最後，通過考察與詠物賦關係密切的巧藝賦，顯示；不僅詠物這個子目，整個漢賦都難擺脫強調天道人事功能的歷史包袱。

　　　　　This six-section article discusses one of the types of rhapsodic literature: yung-wu fu, the poetic description of a particular object. It will cover this type of poetry's prismatic modes of description, the appropriate approach to comprehending it, and its burdensome tradition of preaching morals. In this context, four selected works will be interpreted to reveal either their place in the development of yung-wu fu or the brilliance they exhibit on their own. A table of extant Han Dynasty yung-wu fu is appended at the end of this paper.