本文以《全唐詩》為範圍，採傳統地毯式檢索的研究方法，逐首逐頁搜尋《全唐詩》中海洋典故的運用情形。在爬梳近四萬九千首詩作後，總共搜得1011首詩作，運用了1301次海洋典故，作者姓名可考者有331位，運用詩作數量約佔全部詩作的2.06％，作者人數佔比約15.05％，兩者比例皆甚低，顯示海洋典故在唐詩中未具份量。此外，本文將1011首詩作中曾運用的海洋典故，依性質相近者歸納為神域仙境、奇種異物、史聞史跡、仙神仙人、奇景奇地、詠懷寓志等六大主類別，各主類別下再分列共計43種的次類別。在六大主類別中，神域仙境的運用次數最多，合計670次，約佔總數的51.50％；而在43種次類中，以神域仙境之下的三神山次數最多，達514次，約佔總數的39.5％。至於在三神山次類之下，又以蓬萊構詞類型的次數最多，共計308次，約佔總數的24％，其中又以「蓬萊」此單一詞彙為最，可謂為中國古典海洋文學的代表典故。此外，這些典故中與東海海域相關者合計850次，約佔總數的六成六，除了顯示其在唐詩海洋典故中具有相當重要的份量，也彰顯東海乃為中國古典文學中海洋典故產生的搖籃。再者，在331位可考作者中，有22位的運用詩作在10首以上，合計412首，約佔1011首的41％，顯示海洋典故在唐詩中有高度集中於某些詩人的特徵。其中，以李白運用的次數最多，合計75首、110次，次數約佔1301次的8.5％，是為唐代最具「海味」的詩人。此外，本文也藉此實際操作，將43種次類別分成封閉式、半封閉式、開放式等三種構詞類型，並據以比較傳統檢索法與現代數位人文研究法對研究資料取得的差異，以說明本文採取傳統地毯式檢索研究法的考量。

This paper examines the use of marine allusions in " Quan Tangshi " (全唐詩, Complete Tang Poetry) and uses the traditional comprehensive search method to identify them individually. By combing through approximately 49,000 poems, the paper finds 1,011 poems with 1,301 instances of marine allusions by 331 identifiable poets. The poems containing marine allusions account for about 2.06% of Quan Tangshi, and the poets make up about 15.05% of all the authors. These low figures indicate that allusions to the ocean were not prominent in Tang poetry. This paper also summarizes these marine allusions into six main categories based their similarities: gods and fairylands, exotic creatures, historical sites, immortals and celestial beings, spectacle scenery and strange places, expressing personal feelings and aspirations . The main categories are subdivided into 43 subcategories. “Shenyu Fairyland” (神域仙境) was the most frequently used main category, with 670 instances, accounting for about 51.50% of the total; among the 43 subcategories, the “three sacred mountains” (三神山) under Shenyu Fairyland was the most popular one, arrearing 514 times, accounting for about 39.5% of the total. Penglai (蓬萊) is the most common word formation among the “three sacred mountains” subcategory, with 308 occurrences, accounting for about 24% of the total. The term "Penglai" can be considered as a representative allusion in Chinese classical marine literature. Among these allusions, 850 are related to the East China Sea, accounting for about 66% of the total. This shows that it plays a very important role in the marine allusions in Tang poetry, and also indicates that the East China Sea is the cradle of the marine allusions in Chinese literature. Furthermore, among the 331 testable authors, 22 used sea allusions in more than 10 poems, totaling 412 poems, accounting for 41% of the 1011 poems with sea allusions, indicating that certain poets in Tang poetry employed this motif particularly often. Among them, Li Bai (李白) stands out as the most frequent one, having used 110 allusions in 75 poems, accounting for about 8.5% of the 1301 instances in total. He was the most "sea-flavored" poet in the Tang Dynasty. In addition, this article also employs this practical approach to divide 43 subcategories into three types of word formation: closed, semi-closed, and open. It also compares the differences between traditional retrieval methods and modern digital humanities research methods in obtaining research data to illustrate how and why this paper adopts the traditional comprehensive retrieval research method.