詩歌創作講究規範，詞篇則恪遵格律，填作者必先擇定詞調，稱為「選調」，近代研究詞學，亦多見側重詞調研究。〈江城子〉一調，起源較晚，五代時期僅見十四闋，北宋蘇軾之前或同時期，共填作四闋，經蘇軾大量創作，後人繼起，進而成為宋人喜愛擇用的第十三名，蘇軾之影響，著實不容小覷。故本文擬針對蘇軾及前人所作〈江城子〉詞之體製（包含句式、平仄、用韻、句數）、內容（包含詞情、風格），進行分析，可知蘇軾用心填作，體製臻於定型；拓展題材，內容跳脫窠臼，確實對〈江城子〉一調之承繼與開拓，貢獻卓著。

Similar to poetry writing to which rhythm must be paid attention, traditional lyric writing is a certain kind of literary activity wherein tonal patterns, as items for lyricists to select before composing, are of great importance. This is one of the reasons why researches nowadays on the tonal patterns of traditional lyrics has been increasing in the related area. Among tonal patterns that have still existed, Jiangchengzi, which were merely composed 14 times during the Five dynasties and 4 times during the early period of Northern Song, respectively, had once been ranked 13 of favorite patterns by Song people as a contribution of Su Shi who was the first to compose Jiangchengzi with great frequency. Based upon this view, this article aims to focus, both formally and emotionally, on lyrics with the pattern of Jiangchengzi, arguing that Su Shi is of big achievement in inheriting related works of his former and, more importantly, in promoting Jiangchengzi as one of the most prevalent.