張可久以極爲可觀的散曲数量（全部元散曲的五分之一）以及其獨特的散曲風格，在中國散曲史上佔據舉足輕重的地位，尤其是張可久的散曲風格融合了中國傳統的詩歌元素和當時盛行的散曲形式，自成一派。本文旨在重现具有融合性美學詩歌功能的張可久式散曲創作觀。主要包括：第一，本文將對張可久散曲的節奏、對仗、押韻等散曲形式層面的主要構成要素進行詳細考查，以此探討張可久如何通過散曲的形式體現中國古典詩歌的美學特徵。第二，本文將通過對張可久時代的整個文化背景下的集體文學創作活動的分析，證明張可久散曲的融合性特徵並不是文言雅風格與口語俗風格的機械疊加的產物。

Zhang Kejiu 張可久 occupies an important position in the history of sanqu 散曲 (colloquial song). Not only does the sheer volume of his sanqu songs account for one-fifth of the extant sanqu songs, but his significance also lies in the unique style of his songs. In particular, his sanqu songs hybridize traditional literary elements with the up-and-coming form of sanqu. This article examines how Zhang Kejiu embodied the aesthetics of classical poetry in the format of sanqu through a detailed examination of meter, parallel lines, and rhyme. Also, to demonstrate the synthetic style of Zhang Kejiu’s sanqu songs was not merely the result of the combination of literary and colloquial styles, this essay aims to reconstruct Zhang Kejiu’s idea about poetic functions underlying his literary syncretism by exploring his literary activities in the cultural context at his time.