蕭麗華2006-07-252018-05-292006-07-252018-05-292002-07-31http://ntur.lib.ntu.edu.tw//handle/246246/4396本文主旨有二：一在重新整理李白復古的主張考訂歷來李白復古說的歧見;二在分 析李白擬古、效古、運用古題、融會古人句法及法傳統的各類詩作，看出李白復古詩作 的多樣性，以參核其復古理論，對照出其中的統一或矛盾，讓李白復古或開新之爭有歷 史性的落幕，同時也讓大詩人精湛藝術之底蘊可以昭然揭示出來。 本文除解決李白「復古」的紛歧問題外，主要欲藉分析李白「無一法可得」的詩歌創作， 來突顯詩歌藝術的高度精彩，在李白的復古與創新中，唐詩藝術已臻巔峰。融古鑠今的詩歌 藝術，非李杜莫屬，而李白更因此而見典雅傳統，這是他有別於杜甫處。李白之擬古，可說 是整個漢魏六朝擬古風氣的集大成者，在詩歌史上有其特別的意義，值得深入研究加以彰顯。Li Po was a brilliant poet whose gusto was both rich and versatile. However, few of his writing about the poetic theory remained,, nor did any particular treatise on this topic. In this regard, different recognition between his “restoration” and “creation” had been made by future generation. The comprehension of whether Li Po held the idea of “restoration” varied in the academic field. Some believed that although Li Po declared “to revive tradition” and kept the critical attitude toward the poems from Chien An Period on, his creation praxis started a new style of Tan Dynasty (An Chi). Some emphasized that in Li Po’s nineteen poems of “Ku Feng” , his intention was to “criticize the politics by means of literature”, not to advocate the revival of literary tradition (Yu Ping Bo ). While, others deemed that none, through the end of Tan Dynasty, thought Li Poin favor of “restoration” in the scope of poems (Lo chung Tao). All these prove that the idea and praxis of Li Po’s “restoration” indeed have brought on different recognition in the future generations. Going deep in Li Po’s poems, one would discover that they covered the essence, forms and spirit of poetry starting from “feng Sao”, which was the ancestral essentials Li Po blended harmoniously and gasp thoroughly. That also was the spiritual status of Li Po unable to be explored and approached. 3 This paper aims at two points. Firstly, it is to rearrange the ideas of Li Po’s restoration and review different interpretations on this topic hereunto. Secondly, focus is on analyzing the art of Li Po’s imitating classical mopels in his various poetic works, showing versatility of Li Po’s poetic works in terms of restoration, and contrasting its union and contradiction with reference to classical theories. The purpose is to put the controversy between “restoration” and “creation” of Li Po to an historical end and meantime to make it public for the reality of the great poet’s excellent art. In addition to solving the divergent issue of Li Po’s “restoration”, this paper attempts to highlight the utmost essence of poetic art by analyzing Li Po’s poetic works and to announce that the art of Tan Dynasty reached its climax in Li Po’s “restoration and creation”. Li Po and Du Fu were both second to none in creating the new style of poetic art by blending with the classics; nevertheless, Li Po was more special than Du Fu in reviving the elegant tradition.application/pdf633320 bytesapplication/pdfzh-TW國立臺灣大學中國文學系暨研究所李白復古古風擬古樂府詩Li PoRestorationPoetry of Tan DynastyKu Fengreporthttp://ntur.lib.ntu.edu.tw/bitstream/246246/4396/1/902411H002027.pdf