杨亿的诗学传承非常复杂,在受家学渊源及当时诗坛影响的同时,对李商隐的偶然发现,促成了其诗风的转变。其七律诗风从《武夷新集》到《西昆酬唱集》变化非常明显。《武夷新集》中的七律题材比较集中,基本以寄赠交游为主,是当时白体七律的主要题材,创作技巧以写实叙述手法为主,语言上融合了晚唐体的精心雕琢,总体诗风体现出白体与晚唐体相结合的面貌,后期开始使用典故,逐渐出现西昆体迹象。《西昆酬唱集》中其七律较之《武夷新集》的变化体现在题材、风格、创作技巧等各个方面。这些变化与杨亿对李商隐的体认与模仿分不开,其对宋诗学的影响亦不可估量,从很多方面兆示了宋诗的特征。从杨亿七律诗风的转变中,人们可以看出北宋诗风在学唐变唐过程中的艰难探索,杨亿应是促成北宋诗风新变的第一人,其历史地位应重新考量。 Yang Yi’s poetic tradition is very complicated. While being influenced by his family origins and the poetry circles at that time, the accidental discovery of Li Shangyin contributed to the transformation of his poetry style. The seven verses change from “Wuyi new episode” to “Xikun repertoire” is very obvious. The seven-law theme in Wuyi’s New Episode is mainly focused on sending and giving gifts to friends and relatives. It is the main subject of the white and black sequins at the time. The writing techniques are mainly based on realistic narration, Poetic style shows the combination of white body and late Tang style appearance, later began to use allusions, and gradually show signs of West Kun body. Compared with the “Wuyi New Epitogue”, the seventy laws of “Xikun’s Piano Collection” are reflected in the themes, styles, creative techniques and other aspects. These changes are inseparable from Yang Shang’s recognition and imitation of Li Shangyin. Their influence on the study of Song poetry is also immeasurable. From many aspects, it shows the characteristics of Song poetry. From the transformation of Yang Qi’s seven-character poem style, one can see the difficult exploration of poetic style in the Northern Song Dynasty during the process of learning Tang to Tang Dynasty. Yang Yanying should be the first person to promote the new style of Northern Song Dynasty’s poetry, and its historical status should be reconsidered.