宋代中葉，一批詩人藉「宗派」名號形成了世稱「江西詩派」的群體。後來，呂本 中 (1084-1145) 更以《江西詩社宗派圖》確立群體的架構。如此自覺的群體意識實為詩 歌史上前所未有的現象。至宋末元初，「江西詩派」日漸沒落，方回 (1227-1307) 遂編 纂《瀛奎律髓》，決心重振之。然方回沒重彈前輩的舊調，而是就過去的批評，大規模 地調整這群體的內涵與主張，包括提出影響深遠的「一祖三宗」說。此說從根本改寫呂 本中提出的架構，使「江西詩派」變成一條貫穿唐宋，扣連歷代著名詩人的脈絡。這個 「再建構」的過程更重新闡述了唐宋詩史，使之變得有利於方回個人之立場。方回利用 書寫文學史的權力，在易代之際推出《瀛奎律髓》，是值得注意的行動。

In the middle of the Song dynasty, some poets united as a group and called themselves zongpai 宗派. The group is also known as the Jiangxi School of Poetry 江西詩派. As a member of the group, Lü Benzhong 呂本中 even wrote a document called Jiangxi shishe zongpai tu 江西詩社宗派圖, which showed the structure of the group in detail. In the history of classic poetry, this phenomenon had never happened before. During the late Song and early Yuan, hoping to stop the waning of the Jiangxi School, Fang Hui 方回 published a collection of poems titled Yingkui lüsui 瀛奎律 髓. In this book, it is obvious that Fang did not simply repeat his predecessors’ ideas. Responding to the criticisms raised in the Southern Song period, he adjusted many literary tenets of the group. For example, he suggested a concept called ‘one progenitor and three ancestors’ (一祖三宗). This concept completely changed Lü Benzhong’s original conceptualization and placed the Jiangxi School into a trend that connected it to many great poets in the Tang and Song dynasties. The reconstruction even rewrote the history of classical poetry in accordance with Fang’s standpoint. Simply speaking, Fang took advantage of the power of literary history by publishing Yingkui Lüsui at the beginning of a new dynasty.