〈同谷七歌〉與〈秋興八首〉是杜甫組詩的名篇，這兩組組詩創作時間相隔七年，但均寫成於秋冬，卻都在篇末突兀地出現春日意象，當時杜甫已漸入暮年，無論身心均處於困頓窘迫之谷底，為何會有此超越現實時間的構思？本文從詩歌文本、意象入手，以杜詩中自然景物與人工藝術的映照、對比；組詩，尤其以七律聯章為組詩的結構、經營；以及詩篇中時間形式的特殊呈現，探究杜甫如何藉卓絕的「賦形」能力，以詩筆召喚春天，從生命困境中突圍而出，臻及個人詩藝圓熟之境。

“Tonggu qige” and “Qiuxing bashou” are famous poems by Du Fu. Written seven years apart, both were completed in the autumn or winter, and mention spring in the final stanza. At that time, Du Fu was advancing in years, and he was exhausted and in hard times. Where did these thoughts of transcending reality come from? This article will discuss this issue by using the text of the poems and the imagery contained therein. The focus of discussion will be on the contrast between natural scenery and art. Particular attention will be given to the structure, management, and timeline of these qilü poem series. It will be shown how Du Fu summoned spring through his structuring of the poems, resulting in an ability to break out of life’s predicaments.