The early Tang Dynasty was greatly influenced by the style of writing in the Southern Dynasties. During the Sui and Tang Dynasties, Wang Jishan wrote poems about rural life with a fresh and simple style. He was a pioneer of pastoral poetry in the prosperous Tang Dynasty, and his representative was Wild Hope. The literary ideas of Emperor Taizong and his ministers were pragmatic and opposed to glitz, but in their creation, beautiful style and simplicity coexisted.
Shangguan Yi, a court poet, whose poems are called "Shangguan Style" are charming in style, but strict in temperament. There are 2 poems by Shangguan Yi in The Whole Tang Poetry. Among them, 12 poems are for making, feasting and answering, and most of these poems are light songs for fun and embellishment; 4 songs are elegies; Only "Spring Day", "Walking on the Moon in Luodi", "Painting Obstacles" and "Wang Zhaojun" are poems written for feelings. In addition, according to Song Wei Qingzhi's Poet Jade Scrap, Shangguan Yi put forward his own theory of "six pairs" on the basis of summing up Shen Yue's theory of "four tones and eight diseases" in Qi and Liang Dynasties and Liu Xie's theory of "speaking right, doing right, being right and opposing" in Wen Xin Diao Long Li Ci ("eight pairs", his granddaughter Shangguan Waner. For example, Rewarding Xue Sheren's Evening Scenery at Wannian Palace, Holding Friends Directly, and Early Spring Guilin Palace, using various dual forms, have made important contributions to the perfection of the metrical form of modern poetry in the Tang Dynasty. From the perspective of temperament, "a specific scale has been set for judging the merits of poems that should be made and written in the court, and the evaluation criteria for selecting scholars by poems in the future." The four outstanding poets in the early Tang Dynasty (namely, Wang Bo, Yang Jiong, Lu Zhaolin and Luo Binwang) played an important role in the development of Tang poetry, and their works made a breakthrough and innovation in both content and form to the flamboyant poetic style or the relatively simple system in the early Tang Dynasty. Four outstanding officials are brilliant, generous and ambitious. They oppose the elegant style of writing and advocate the expression of true feelings. Although his creation has not completely got rid of the legacy of Qi Liang in form, it has made great breakthroughs in content and spirit. Wang and Yang Gong are good at five-character poems, while Lu and Luo are good at seven-character songs, including Wang Bo's farewell to vice-prefect du setting out for his official post in shu. Yang Jiong's "Joining the Army"; Lu Zhaolin's "Chang 'an Ancient Meaning"; A political prisoner listening to a cicada by Robin Wang.
Wen Yiduo fully affirmed the role of the "Four Masters" in the development history of Tang poetry. First of all, he pointed out that the poetry creation of the "Four Masters" led Tang poetry from the palace and the Taige to the market, Jiangshan and Saimo, adding new themes and expanding the scope of creation. Secondly, starting with the evolution of poetic forms, he divided the "four outstanding poets" into Wang Yang and Lu Luo, and pointed out that Wang Yang's mission was mainly to build five laws, which were in the same strain as Shen and Song (one in content and one in form); Lu Luo's mission is mainly to destroy the old palace poems with new palace poems, which has a direct impact on Liu, Zhang and future generations' long songs. If we focus on the evolution of the theme, scope and form of poetry, it is generally in line with the creation reality of the "four outstanding poets". "Shen Song" (that is, Shen Quan period and Song Zhiwen, both court poets) and Du Shenyan made two important contributions to the completion and finalization of modern poetry in the Tang Dynasty: dualizing the "four tones" and sticking the law of flat and even tones throughout the whole article. They perfectly combined the phonological and dual skills of "Yongming Style" in Qi and Liang Dynasties and "Shangguan Style" in the early Tang Dynasty, and expanded from the dual meaning to the dual pronunciation and syntax. They not only paid attention to the coordination of flat and parallel words, but also conformed to the rules of adhesion and antithesis, which provided a standardized form for the creation of regular poems in Tang Dynasty. Song Zhiwen and Du Shenyan wrote the Five Laws better, while Shen Quanqi wrote the Seven Laws better. The representative works include Shen Quan's "The Ancient Meaning Show Qiao Bu Que Know"; Song Zhiwen's Crossing Dayuling and Crossing Hanjiang River. Some poems that should not be made have higher achievements. In addition, Liu Xiyi's Ode to a White Head and Zhang Ruoxu's Moonlit Night on the Spring River are of positive significance to the maturity of Seven-character Songs.
Yan Yu's Cang Lang Shi Hua Poetic Style says: "Feng Ya Song died, changed to Li Sao, then changed to five words in the Western Han Dynasty, changed to a miscellaneous style of singing, and changed to a poetic style of Shen and Song", which is fully affirmed in the history of poetic style development. Wang Shizhen's Yi Yuan Yi Yan also said: "Five words are self-reflection, and Song Shi can be called law. The law is the law of temperament, and there is no strict one in the world. Knowing the truth and the truth is not allowed, and the law is clear. " In fact, not only the Five Laws, but also the Seven Laws and Exclusion Laws are in Shen Song's hands, and there are statutes to be found. Chen Ziang is the most outstanding poet who has made great contributions to the theory and practice of poetry innovation in the early Tang Dynasty. He opposed the flamboyant poetic style since Qi and Liang Dynasties, advocated "the style of Han and Wei Dynasties", advocated "prosperity", respected elegance, attached importance to comparison and created a new style. His poems are rich in content and calm and vigorous in style, among which 38 are on a Gate-Tower at Youzhou and Poems of Feeling. His articles also have their own characteristics, and they also have a pioneering role in the innovation of prose creation. As a pioneer of poetry innovation in Tang Dynasty, Du Fu and Han Yu all spoke highly of him.