曹丕的文氣說不僅是從文學本體論的角度為「文」及「美」找到了價值根源，促成內在於人的審美意識充分覺醒，此外他對於作為審美主體的作者，和作為審美對象的作品，也都提出了具體的創見。本文即針對此二方面梳理曹丕文氣說的美學意涵： 在審美主體方面，曹丕充分尊重主體的個性，除了極大地強調主體個性的「不可力強而致」，還進一步認為審美主體也與文學、與美同樣地「不朽」。而在審美對象方面，則是以風格為取向的，因此一來他提出了「氣」的壯美風格作為共同的審美理想；二來又同時對於其他不同的美感特徵，也都給予同樣的肯定。更有趣的是第三方面，此風格論的觀點還從各家作品一路影響到他的文體論上去，使得各種文體也都產生了獨特的「個性」。 個性，與風格，交會組成了曹丕的美學理論。

Not only base on ontological aspect Cao Pi's "wenqi" theory loacted the essence of value of TEXT and BEAUTY which awakening the internal aesthetic sense of readers, but also he proposed solid, innovative opinions both on the authors as the subject of aesthetics and the works of literature as object. This essay is pointed to assort the aesthetics implication of Cao pi's "wenqi' theory on these two fields. On the subject side, he fully respect the author's disposition, by strongly emphasizing such disposition could not be forced to achieve, furthermore he recognizes the immortality of the author just the same as the work of literature and the beauty in there. For the object of aesthetics, he inclines toward to style. First, he pro-posed the panoramic style of "qi" as the common idea of aesthetics. Secondly, he affirms other aesthetic features as well. The most interesting third part of his theory is the aspect of various styles will affect the text of all various works of literature and will lead to a distinguished character on various texts.