齊梁以來「詠物」成為五言詩中一醒目的主題，此風氣延續至初唐而極盛，且隨聲律發展，近體律詩與詠物主題相結合，李嶠〈百詠〉120篇五言律詩，體現了五律詠物大盛的實況。中唐以後，隨著七律形式的成熟與創作經驗的累積，詠物七律漸漸取代五律，成為詠物詩的主要載體。對詠物詩而言，七律比五律具備更多優勢，包括描述「物」的形貌特徵、所處的空間環境或和詩人間的互動等層面，七律都可表現更豐富的內容。唐代詠物七律在藝術表現上有三個突破：體物賦寫技巧的精進、由寄託之諷轉向沉鬱之美與極端典故化。這些藝術創造也對後代產生了很多大的影響，宋代的西崑體、白戰體，以及明清時期表現特定政治情懷的詠物七律，都可以說是唐代詠物七律美學情境與創作實踐的延續和發揚。

Since the Qi and Liang dynasties, five-syllable verse had been the most popular style of poetry, and this continued to be true up to the early Tang dynasty. From the mid-Tang onwards, as the regulated verse form matured, seven-syllable verse gradually took the place of five-syllable verse and became the main poetic style of this period. When it comes to descriptive poems, seven-syllable verse has many advantages over five-syllable verse. Seven-syllable verse can contain richer content when describing the appearance and character of objects, as well as enable deeper layers of interaction between poets and the space they occupy, whether physical, emotional or metaphysical. The development of seven-syllable verse led to three breakthroughs in poetics: the refinement of observational skills and writing technique, an increased range of styles from irony to melancholic beauty that could be expressed in poems, and the depiction of extreme allusions. Seven-syllable verse also had a great influence on later generations, including the development of the xikun and baizhan styles in the Song dynasty and the seven-syllable verse of the Ming and Qing dynasties which was used to express political feelings. All of these styles can be regarded as proof of the lasting influence the Tang dynasty seven-syllable verse exerted on Chinese poetry.