Abstract：″Poem for imperial examination （Keju tests） should be witten to the Qi Liang poetry style″ in the imperial edict of Emperor Wenzong of Tang Dynasty in Kaicheng Period， has constantly been a direct evidence for people in Tang Dynasty to use as imperial examination （Keju tests） with ″Qi Liang poetry style″ and the style of poem in Qi Liang revival in Late Tang Dynasty. But with the absence of rhyme characteristics ″Qi Liang poetry style″ and further research of connotation of restoring ancient ways in recent years， little research has been done on its deep historical background and poetic connotation. Based on the research of first-hand historical materials， and the research about the deep psychological motivation that played a key role in the innovation of imperial examination as well as the unique role of Wenzong， I think that the poem for imperial examination based on the ″Qi Liang poetry style″ is the products of complex factors， such as Wenzong's own political ideal， the innovation to imperial examination malpractices and partiality for ancient literature. The poetry style has a characteristic of Ze tonal rhyme and informal of Ping-Ze format as well as poem antithesis in pairs， ″graceful style， profound meaning″ of the poetry style， which is not just a ″variation style.″ What it chases after is not the original ″Qi Liang poetry style，″ but the poetry style since the Pre-Tang Dynasty， which has been a style adapt to imperial with freshness and elegant. The ″Qi Liang poetry style″ with the praise of beauty and grace is also a modification to ″Yuanhe style″ and its influences， such as Bai Juyi's， Liu Yuxi's poems with ″Qi Liang poetry style.″ In addition to Wenzong's personal factors and the unique system origins of poem for imperial examination， from the poet of Pre-Tang Dynasty avoiding its origins as taboo， to the glorious age of Tang poetry， when Cen Sen has a fancy of elegant style who imitate the ″Qi Liang poetry style，″ and finally to the imperial edict of Wenzong， the style is Tang poetry internal evolution as well as the continuous awareness of Qi Liang poetry in Tang Dynasty， and is also a result as the combined action of quaint rediscovery and imitation of ancient poetry style. The highlight characteristics of ″absence of rhyme″ is inseparable from the much severe rhythmic rules during Middle Tang Dynasty and the approval and imitation of the informal of Ping-Ze format of Qi Liang poetry style. From Pre-Tang to Middle-late Dynasty， poet has experienced a process from gilded to quaint， Qi Liang poetry style as a new acerbity has become an important way of delivering the poetry body in Late Tang Dynasty from hardship-chanting. When ″Yuanhe style″ and its influencing prevailed， Jiao Ran and Li Shen etc imitate Xie Tiao and He Xun's ancient poetry style， which is not only a bridge to connect the poetic tradition of imitating the Qi Liang poetry style during Middle Tang Dynasty， but also avoid the vulgar shallow of poems. Only in this way can we really understand the poetics and cultural connotations of ″Qi Liang poetry style″ appearing in the imperial edicts. Limited by professional qualification and space limitations， this paper tried to interpret from the perspective of macro evolution of poetics， but I still have not been able to have a more detailed study about the uncharted imitation of Qi Liang poetry style and its influence on the poetic style of Middle-late Tang Dynasty.
仲瑶. 开成年间试诗依''齐梁体格''再探讨[J]. 浙江大学学报(人文社会科学版), 2014, 44(6): 166-173.
Zhong Yao. Rediscussion on the ″Qi Liang Style″ in the Test Poetry during the Kaicheng Period. JOURNAL OF ZHEJIANG UNIVERSITY, 2014, 44(6): 166-173.
2014, Vol. 44 
