唐宋詩之爭，肇始於北宋末葉，其初雖僅斤斤於分體劃派，為之左坦右護，其後則因源流異同，或本色典範，而區分軒輊，優劣高下，其間經歷明代，前、後七子尊唐擬古，蔚為詩壇主流，公安、竟陵繼起，高唱「代有升降，而法不相沿；各極其變，各窮其趣」，唐詩終不復獨尊詩壇。延至清代，尊唐不僅不再獨居主流，甚或與崇宋者各擅其美，明前、七子與公安、竟陵派之詩學主張，且又成為清人尊唐、崇宋典範的另一取譬對象，並引起更大規模的迴響，開啟了各種式樣的唐、宋詩之爭。其中西崑與江西之爭，自是唐、宋詩之爭的一種類型，本文除論述清代西崑、江西之爭外，並考察紀昀對此爭論之另一種思維。

The controversy of Tang and Sung began at the end of the northern Sung. It started with a trivial argument of styles and schools, and later on the problems of originality, the standard of the nature of poetry, the judgment of poetry caved in on. During the Ming dynasty, the former and the later seven literati considered Tang poetry as the mainstream of poetry, and the Kung-an and Ching-ling schools continued to promote the idea of ups and downs of the poetic styles. Tang poetry was no longer the paradigm of poetry. Until Ch’ing dynasty, the aforementioned schools all had their influence, and enhanced the controversy of Tang and Sung poetry. The controversy of His-kun and Chiang-his was another type of this kind of controversy. This paper exams the controversy of His-kun and Chiang-hsi as well as delves into the thoughts of Chi Yun.

西崑;江西;二馮;黃庭堅;紀昀;唐宋詩之爭

His-kun ; Chiang-his ; Chi Yun ; The Controversy of Tang and Sung Poetry