歷來的《紅樓夢》詩歌研究，必須作「詩論」與「詩作」的範疇區分，蓋書中有關詩歌的概念與實踐存在著一種矛盾統一的偽形結構，亦即概念上以格調派「詩必盛唐」之正統價值觀為宗，實踐上則以反雅趨變的性靈為旨趣。本文針對後者聚焦於詩歌作品之美學溯源的考察，從詩句化用、風格趨向、意象表現、審美範式等方面，尋繹其創作實踐與傳統詩歌美學的傳承系譜，由此建構出中晚唐血統為《紅樓夢》提供主要審美風格的實質構成要素。包括：在詩句化用對象上以李賀為最大宗，在風格傾向上以綺靡秀媚、清新纖巧、感傷衰颯為主流，在意象表現上則突出了飛絮、殘花、落日、破月的離喪物性，由「不選格調，專事情景」的創作取向在題材上提供了同調之高相容性，而造成詩情、詩料的雙重近似。至於中晚唐詩人於創作心理上，因身當末世事業無成而被迫面對存在意義的重估，導致相對於初盛唐渾涵之「正」而趨於纖巧之「變」，所蘊含的末世心理特質也恰與《紅樓夢》之敘寫背景相當，更解釋了《紅樓夢》詩歌藝術追求的深層動因，故為其精神血脈的真實歸趨。

Studies on the poetry of The Dream of the Red Chamber should carefully distinguish between “poetics” and “poetry”: while the novel claims high Tang poetry, which emphasizes gediao 格調 as ideal models, in practice it adopts themes of mid-late Tang poetry, which scarifies elegance for rich variations and emphasizes xingling 性靈. This paper focuses on the poetic practice in The Dream of the Red Chamber, covering aesthetic paradigms through style trends and image formations, to adoption and transformation of previous poetic works. Through detailed analysis it is clear that The Dream of the Red Chamber in practice uses mid-late Tang poetry as its aspiration and source. Lastly, I discuss the psychological similarity between the poets of mid-late Tang and the characters in the novel to further illuminate the narrative background and the deep motivation of The Dream of the Red Chamber.