清初以馮舒、馮班為主的諸多詩人，在創作上取法晚唐，在理論上以李義山為宗，詩壇頗有一股晚唐熱潮，後人也皆目為晚唐派。雖然其詩學宗上如此，但是杜甫方是其心目中最高之審美典範，只因老杜詩歌已臻及化境，難能以尋常之典範學習之也，因而二馮即效以王荊公「學杜當自義山入」之言，義山也就成為二馮之詩學宗尚。本文試從二馮之理論切入，剖析杜甫在其心目中之典範地位。

In the early Ching dynasty, a group of poets, leading by Feng Shu and Feng Pan, learned from late Tang poets in their poetic writings and from Li Yi-shan in their poetic theories. Late Tang poetry became popular among men of letters and later generations considered them as School of Late Tang. Although the School imitated the poems of late Tang, their highest standard of aesthetics was that of Tu Fu. This is because the poetry of Tu Fu is not imitable. Therefore, the two Fengs took the advice of Wang Ang-shih: the easiest way to imitate Tu Fu is to imitate Li Yi-shan. In this article, I try to analyze, from the theories of the two Fengs, how the Fengs establishing Tu Fu as their paradign.

杜甫;馮舒;馮班;李義山;清代詩學

Li yi-shan; Fang shu; Feng pan; Tu fu; Ching poets