蘇軾的一百多首<和陶詩>，是蘇軾晚年以淵明為典範，對一己生命所進行的反思及書寫，學界對此，歷來論之己多;然而尚未被充份認知的是，在「古之詩人，有擬古之作矣，未有追和古人者也。追和古人，即始於東坡」的創作自覺之下，<和陶詩〉其實亦是蘇軾有意結合六朝以來之擬古詩，以及唐宋以下蔚為流行的和詩之特質，以實驗、創聽一種新的書寫模式所作的嘗試。其中〈和陶擬古〉九首，由於「擬古」這一主題，在文學發展史上，本身即有其典型意義，復，1;)、其在蘇軾和陶書寫中的特殊性，因而尤其適合作為觀察蘇軾〈和陶詩>「追和」的書寫企圖，以及驗收其實踐成果的起點。 本文即以蘇軾〈和陶擬古〉為討論中心，運用在西方音樂、文學與文化研究上廣被使用的「對位」之概念，展現蘇軾如何透過形式之安排，語謂之置換，一方面與陶詩對話，呈示所謂「迫和」的意義，一方面又將陶淵明其人其詩所樹立的典範/典式，轉化而為個人生命書寫的具體方法以及過程。除了提出一種閱讀〈和陶詩〉的新方法之外，也使蘇軾在詩學上的承先啟後之功，得以更清楚的被理解、辨識。

The more than 100 pieces of Su Shils matching poems to Tao Yuanming's (1037-1101) works (和陶詩)were composed during his late years and are well-known as the reflection and autobiographical writing of Su by taking Tao as his model. Su was fully aware of the unprecedented nature of the task he was undertaking， as he once announced in a letter to his brother that “thereare poems written to mimic old style by ancient poets， but not a single piece has been made to match old works. Writing matching poems across time was started by Dong-po." The consciousness urged by Su to create and experiment with a new way of writing through those matching poems with the combination of traits from “NiGu Shi" (mimicking poems in an old style 擬古詩)，which originated in the Six Dynasties， and “HeShi" (matching poems和詩)， which were fashionable then as exchanging poems was a common activity among friends in the Tang and Song dynasty. Moreover， since ‘NiGu Shi' had been long developed and become kind of a special writing pattern， the combination， therefore， made the nine “HeTao Ni Gu" poems (matching poems to Tao's woks mimicking an old style和陶擬古九首) outstanding examples to demonstrate Shi's attempt to break and reinvent modes in writing， and to examine his achievements. This article focuses on Su Shih's nine “HeTao Ni Gu" poems. Based mainly on a contrapuntal concept acquired from music that was long and widely applied in the research of literature and culture， this article reveals and analyzes the delicate structural arrangements and replacement of words in these nine poems; thus it shows how it was possible for Su to converse with Tao across centuries， and spontaneously to mimic， then to transform， the model set up by Tao into an autobiographical writing for himself. This study brings up a new perspective and method on reading Su's matching poems to Tao and enables a better understanding and identification of Su's contribution to Chinese poetics.