陶淵明的田園詩歌是其人生觀和文學觀的展現，成為後代田園詩歌的典型。唐代王維閒居輞溪，孟浩然長駐鹿門，儲光羲歸隱終南，劉長卿結廬嵩山，他們遙遙承繼了魏晉陶淵明的田園詩派。北宋南宋俱受江西詩派籠罩，南宋晚期詩人紛紛覺悟走出江西詩派籠罩，先有永嘉四靈，後來江湖詩派，方岳處其中而積極從事文體革新，走出江西詩派又出走江湖詩派，建構田園詩歌典型，此一現象值得探討，疑其影響遠及晚明公安竟陵和清代性靈派。方岳的思想自由不拘往往能打破格律、其創作風格清、新、鮮、雅獨樹一幟，以及他的田園詩歌傳承地位皆值得後續觀察。

The pastoral poetry of Tao Yuan-ming is the expression of his attitude towards life and literature, and has become the prototype of subsequent pastoral poetry. In the Tang Dynasty, Wang Wei lived freely in Wangxi, Meng Haoran was accredited to Lumen for a long period of time, Chu Guangxi lived in seclusion in Zhongnan, and Liu Changqing resided in Songshan. They all inherited the pastoral poetry of TaoYuan-ming. In the Northern/Southern Song Dynasty, the poems of literati were strongly affected by Jiangxi Poems. In the late period of the Southern Song Dynasty, poets started to realize that they have to isolate themselves from Jiangxi Poems. Yongjia four poets firstly got rid of the influence of Jiangxi Poem. Afterwards, Jianghu Poems were developed. Fang Yue aggressively developed the styles of poems and got rid of the influence of Jiangxi Poems and Jianghu Poems to establish the prototype of pastoral poetry. The phenomenon was worthy of investigation. His influence was extended to Gongan school and Jingling school in the late Ming Dynasty and Xingling school in the Qing Dynasty. Fang Yue’s open-mindedness enabled him to surpass the restrictions on rhythms of poems. His refreshing, innovative, brilliant, and elegant writing styles made him different from other poets. Consequently, both his writing styles and his status in the succession of pastoral poetry are worthy of subsequent observation.