Abstract: The current new liberal arts concept and its practice have increasingly aroused the attention and discussion in academic circles. At the level of academic research, one of the core concepts and practical objectives of the new liberal arts is to break the existing disciplinary boundaries and effectively solve China’s local academic issues by using interdisciplinary knowledge and theoretical vision. The interpretation about the origin of Wenxin Diaolong ( 《文心雕龙》 ) and its meaning has been litigated for a long time. These disputes focus on the meaning and semantic relationship of “Wenxin” (“文心”) and “Diaolong” (“雕龙”), however, the far-reaching jade cultural belief and its related skills and etiquette which shaped the literary discourse have not been discussed. Starting with the metaphor of Zhuoyu Diaolong (carving jade dragons or dragon patterns), this article focuses on the discourse practice of literary theory of Diaolong Chixiang (a metaphor used to illustrate that the author is famous for being good at words and writing like a craftsman carving jade dragon patterns), Diaozhuo Qizhang (carving and polishing chapters), Jinxiang Yushi (texture of gold and jade, a metaphor for the internal and external beauty of people, material or literature, which is noble and indelible), Jinsheng Yuzhen(melody of chimes and Qing, this is a metaphor has both ability and morality, profound knowledge and high reputation) in Wenxin Diaolong and their historical and cultural context, and investigates how the Diaolong has changed from a manufacturing technology term to a literary theory term, that is, how it deeply shaped the canonical expression of literary theory discourse and the implicit Wenxin (restore etiquette and practice, writing, communication between Heaven and Man, achieve virtue and state, impart and inherit virtuous utterances, elegant humanities) from four dimensions of material, technology, belief and system.