陳師道作為宋代重要的詩人，江西詩派把他與杜甫、黃庭堅及陳與義奉為「一祖三宗」，故他一直是宋詩研究的熱點。他的《後山詩話》更是研究宋代詩學的重要文獻，現時學界研究《後山詩話》時，多引用其中「寧拙毋巧，寧樸毋華，寧粗毋弱，寧僻毋俗，詩文皆然」一句，認為陳師道的詩學觀是有意為拙的，更以此說明其詩歌樸拙風格的成因。對此，筆者有不同的看法，筆者認為陳師道並非有意追求樸拙，「拙」只是其中一種表現手法，是相對於「工」而言的，陳師道真正追求的是「意切」，至於以「工」還是「拙」的手法表現只是其次，兩者都只是達到「意切」的手段。

As one of the important poets in Song Dynasty, Chen Shi Dao is embraced altogether with Du Fu, Huang Ting Jian, Chan Yu Yi as “One source Three streams” by Jiangxi School of Poetry. Therefore he is always a focus that gathers a lot of spotlight in academia. His Hou Shan Shi Hua is also an important piece of literature in the study of Song ShiHua. Today scholars studying Hou Shan Shi Hua tend to quote “better raw but not crafted, better plain but not gaudy, better forthright but not frail, better rare but not common” arguing that Chan creates his work with intentions of writing raw lines, and further elaborating this as the causes of his raw poetic style. However, author shares a different point of view saying that Chan does not really pursue the representation of rawness. Rawness is only one of the representation based on the opposition of the crafted. What Chan really pursues is accuracy of meaning and of feeling. Whether to be raw or to be crafted is relatively minor in this sense, they are too just means to achieve the goal of accuracy of feeling and meaning.