本著別業既能社交休閒又不失遺世獨立的特質，別業詩亦被賦予既在人世卻又離世的輕微矛盾色彩。而貫串別業詩的主要創作傳統，即為調和人為與自然之間的關係。此種「調和」在初唐主要展現於華美與簡約共存的審美取向；至盛唐則因別業澡雪精神的價值更受重視而擴充至心靈層面。由此，盛唐的理想別業樣貌被奠定為得以包容別業主人求仕理想與歸隱願望的一方淨土，而別業中人的獨往形象描寫也逐漸取代初唐以宴會遊賞為主的敘述方式，成為盛唐別業詩創作的主流。此外，盛唐後期亦出現了一些刻意強調士人之心理掙扎、打破別業中人完美高士形象的變異型別業詩，展現出盛唐別業詩創作傳統不同於初唐的多樣性。

A bieye 別業, or villa, was a type of building that struck a balance between sociability and seclusion. As such, one of the most important functions of bieye poetry was the mediation between humanity and nature. In the early Tang, this mediation was represented in the aesthetics of bieye poems, which contained both simple and ornate styles. In the high Tang, by contrast, the concept of spiritual purification became more valued, and as a result the ways of mediation between humanity and nature in bieye poetry frequently came to be associated with spiritual growth. In the high Tang, poets described the bieye as an ideal place where they could not only prepare to pursue an official position, but also live in seclusion. In these poems, the individuals residing in bieye were usually described as noble hermits. This mode of writing gradually replaced the early Tang stress on banquets or amusements, and it became the main focus of bieye poetry. In addition, some bieye poems that appear around the time of the An Lushan Rebellion broke away from the notion that all individuals in bieye were perfect, emphasizing instead the struggle between being an officeholder and a hermit. These different themes rendered the bieye poetry of the high Tang more diverse than that of the early Tang.