You can look at this problem from three aspects: aesthetics, poetic form and content. The overall impression of the Tang Dynasty is enthusiasm, optimism and enterprising, which is very inseparable from the social environment of the Tang Dynasty. How impassioned it is in poetry, how serious idealism and romanticism are. Of course, except for poets below Du Fu and poets influenced by Du Fu, they pay attention to reality and are more optimistic about comrades. But in fact, Du Fu was also positive and optimistic in his early days. Even if he writes two for the sake of the road or something, he also has the idea of being an official actively. Since it is romantic idealism, it will not be discussed too much in poetry, but will be accompanied by social ideals and Confucian morality. This is also a big difference between Tang poetry and Song poetry. Tang poetry emphasizes character, that is to say, it should be meaningful, not sighing, but connotative. It started in Chen Ziang. Formally, as you said, the system of metrical poetry is complete, and all kinds of rhetorical devices and structures are mature. There are too many. You'll understand after reading too much. From the content point of view, Tang poetry reached its peak in landscape poems, frontier poems, farewell poems and realistic poems initiated by Du Fu and Bai Juyi. Later generations can only learn from them and can never surpass them. If we say that the Tang poetry in time, the poet is a clerical error. Li Bai, Du Fu, Wang Wei, Meng Haoran, Gao Shi, Cen Can, William Wang, Chang Jian, Cui Hao, four outstanding writers in the early Tang Dynasty and four friends in the article. I only mentioned the early and prosperous Tang Dynasty, and there will be many more in the future. Probably the poets we know in the Tang Dynasty are comparable to those in other dynasties combined.
I don't know much about the characteristics of metrical poetry. One is the number of words, the rhyme of rhyme, the rhyme of the last word in each couplet, the rhyme of modern poetry, and whether the sentence in the first couplet can be suppressed. Then there is the sticking method, that is, the last word of the last couplet (that is, the second half sentence) and the first word of the next couplet (that is, the first half sentence) should be flat and parallel (that is, the last word of the same couplet should be flat and parallel (that is, flat and parallel are different). And ask this rule to run through the whole article. This is the most important rule of metrical poetry. Actually, there are many very good places. For example, those words are flat characters and those are silent characters? Of course it's not the same as it is now. It's either flat or flat, and the sound up and down is boring. There is also where the sticking method must be strict, where it can be flexible, what is the wrong sticking method and what is the depression relief method. That's all I know. If you have any questions, please contact me. I tried my best to answer.