本文考究王勃 (650-676) 入蜀前後的賦體創作的轉變概況，並探討其藝術價值，從而重新審視其在賦史上的地位。王勃入蜀前後的個人遭遇是其賦作變化的重要因素。勃少年得志卻旋又失意，早年賦作題材以宴集奉承為主；總章二年 (669) 被逐出王府，入蜀淹留三年，在心境與景物的觸碰下，以及交遊唱和的場景中，作品風格發生了質變。本文以王勃的禽鳥賦為主要 分析對象，考察早年的〈寒梧棲鳳賦〉與入蜀期間所作的〈馴鳶賦〉和〈江曲孤鳧賦〉在體裁和題材上的異同。此外，又論證盧照鄰（約634-約686）和王勃的〈馴鳶賦〉等作品反映了此時期四韻抒情小賦的定型和流行。王勃入蜀前後賦作展現了初唐賦壇在律賦形成初期的不同面貌，為唐代賦體文學寫下了重要的一章。

Wang Bo’s 王勃 (650-676) journey to the Shu 蜀region (in modern Sichuan province) demarcates his fu 賦 (rhapsody) style, which underwent a dramatic change from elegance to freshness. This paper examines the factors behind this change and discusses the aesthetic appeal of these fu in an attempt to reconsider the contributions of Wang’s fu to Chinese literature. Wang Bo’s early career success shaped his fu, which were mainly products of social gatherings written in a sycophantic tone and a highly embellished style. However, he was dismissed in 669 from a prince’s patronage and became a vagabond in Shu, and his three-year sojourn there triggered a crucial transformation in his literary style. When the unhappy poet encountered the scenery of this strange land, a new poetic style emerged in his writing. The present essay focuses on three fu about birds: one written before the dismissal and two after. It compares their forms and styles, and argues that these fu, along with a number of others with similar backgrounds, are all written in the then-prevalent quasi-regulated fu form and feature a high level of lyricism. This paper constructs a complex picture of Wang’s fu and sheds light on the fu of the early Tang period, when the regulated fu form became fully developed.