我們現在多半認為魏晉南北朝時期的文學，南朝勝於北朝，而除了魏收、邢邵、溫子昇所謂「北地三才」之外，北朝沒有什麼值得一提的作家作品。但從辭賦這個文體來說，本文注意到如成霄、姜質等文人獨特的風格以及在當時得到的評價，並認為這般特殊的風格，背後與在地化、俚俗趣味，以及當時北朝文壇的美學品味有關。故本文分為幾個部份，先談北朝賦發展的脈絡與評價；其次聚焦於北朝賦的風格、美學品味以及當時對此風氣的評價；其三則聚焦到北朝賦的題材、內容、權力象徵與國家宣傳。就文學史來看，南朝文學確實比北朝更有價值，但從政治與國家層面，賦的寫作動機與預設讀者，本質上就與其他文體不太一樣。因此，將賦放在政治、國家、文化與權力等脈絡來詮釋，是有其適當性的。而在本文的探討與建構中，也能填補過去討論文學作品時較缺乏的面向。

Discussing the literature of the Wei, Jin, Southern and Northern Dynasties, nowadays we generally consider that the Southern Dynasty’s literary works to be better than the Northern Dynasty. Except for Wei Shou, Xing Shao, and Wen Zisheng, the so-called “Three Talents of the Northern Territory”, there are no writers and literary works in the Northern Dynasties worth mentioning. This paper noticed that in the style of rhapsody, writers such as Cheng Xiao and Jiang Zhi brought the vulgarity to the literature system. The style of vulgarity is also related to local identity, state power, and cultural competition in the age of multi-polarity. This paper is divided into several parts. Firstly, clarify the relationship between the vulgarity rhapsodies of the Northern Dynasties. Secondly, focus on the formation of the language style, and the public evaluation towards this kind of writing style from the society at that time. Finally, focus on themes, contents, power symbols, and propaganda of the Northern Dynasty rhapsodies. In terms of literary history, the literature of the Southern Dynasties is indeed more valuable than the Northern Dynasty. However, if viewed from national politics’ perspective, it is clear that the writing motives and the target readers of rhapsody are fundamentally different from other literary styles. Therefore, it is appropriate to interpret rhapsody in the context of politics, state, culture, and power. The discussion and construction of this paper could act as a supplement to the aspects regarding literary discussion that were not much discussed in the past.