明代茅坤的《苏文定公文钞引》评苏辙总体文风为“西汉以来别调”，又评其晚年文章为“老人之言”，他指出，苏辙晚年文风产生了新的特色。论文在茅坤评价的基础上，从苏辙晚年文风、思想内涵与形式结构方面，探究苏辙散文创作在晚年生存语境下呈现的整体特色，并分析苏辙晚年的心态对其创作的影响。 第一章，整体梳理和观照苏辙晚年散文，明确各类文体的创作概况，以及晚年散文在他一生创作中的地位。辨析苏辙总体文风的特色，指出苏辙早期文风受苏门家学等因素影响，体现出雄奇特色，后又形成自己独特的“别调”文风。苏辙晚年因“其年已老，其气已衰”，深化形成“中肯綮，切事情”的老人之言，内容上表现为晚年深沉成熟之思想境界，形式上表现为超越技巧与雕琢的艺术审美境界。 第二章，探究苏辙晚年散文思想内容的特色。苏辙晚年作为闲居老臣，与朝廷保持着疏离又紧密的微妙关系。这种状态在苏辙晚年散文的创作中体现为他对政治现实的坚持书写：自传《颍滨遗老传》大量载录原始文献材料，突出塑造自己朝廷大臣的形象，写作目的在于保存史料，立言以示后世；史论《历代论》以老臣的视角坚持针对北宋政治进行反思性书写，与现实联系紧密，并更加强调君臣职责与君臣关系；杂记、杂说书写卜居生活中的思归之念与始终如一的在朝心态之间的矛盾。 第三章，探究苏辙晚年散文形式结构的特色。苏辙晚年散文在晚年生存语境下于形式上总体呈现出“无心于为文”的特点，文章以立意为先，以传达深思为先，淡化了对结构、语言等文章审美要素的经营，结构松散随意，语言简朴简洁，各类文体的创作都呈现自由写作的状态，不遵循文体传统表达的规范，客观上促进了文体之间的交叉、融合与互动。 第四章，探究苏辙晚年生存语境下的心态对其晚年散文创作的影响。闲居时期，他始终秉持“先忧后乐”的儒家士大夫情怀，有对颜子“箪食瓢饮”之乐的思考与追寻，有对佛道之学的亲近与体悟，这些因素潜在地影响了他晚年文章的整体风格、思想内涵与形式结构。

In the Ming Dynasty, Mao Kun's "Su Wending Gong Wenchao Yin" commented on Su Zhe's overall style of writing as "Biediao (a distinctive style) from the Western Han Dynasty", commenting on the style of his later style as "the old man's words", pointing out that Su Zhe's later style of writing has new features. On the basis of Mao Kun's evaluation, this paper explores the overall characteristics of Su Zhe's prose creation in the context of his later life from the perspective of Su Zhe's later style, ideological connotation and formal structure, and analyzes the influence of Su Zhe's mentality in his later years on his creation. The first chapter, the overall combing and observation of Su Zhe's essays in his later years, clear the creation of various styles, and the status of his prose in his whole life creation. It analyzes the characteristics of Su Zhe's overall style of writing and points out that Su Zhe's early style was influenced by factors such as Su's family studies, which reflected a singular tone and later formed his own unique "Biediao" style. Su Zhe’s later years, because of his old age, his temper declined, he deepened the words of the old man who “made a cutting analysis”. The content is expressed as the deep and mature ideological realm of his later years, and the form is characterized by artistic aesthetics transcending skills and carvings. The second chapter explores the characteristics of Su Zhe’s thoughts on prose in his later years. Su Zhe’s later years, as a veteran minister, kept an intimate and close relationship with the imperial court. This state is reflected in his creation of prose about the political reality in his later years. His autobiography of "The Biography of the Old Man in Yingbin" contains a large number of original documents and materials, highlighting the image of his own court minister. The purpose of writing is to preserve historical materials and alert the later generations; the historical thesis Discussion of Past Dynasties insisted on the reflective writing of the Northern Song Dynasty politics from the perspective of a veteran, which was closely related to the reality, and laid more emphasis on the relationship between the monarch and the minister and the relationship between the monarch and the minister; miscellaneous notes, words and writings told the contradiction between the life of the mind and the mentality of holding office at court. The third chapter explores the characteristics of Su Zhe's prose form structure in his later years. In the context of his later life, Su Zhe’s prose presents the form of the overall appearance of “unintentional for the text”. The article takes the idea first to convey thoughts and dilutes the management of the aesthetic elements of the structure, language and other articles. The structure is loose and random, the language is simple and concise, and the creation of various styles presents a state of free writing. It does not follow the norms of stylistic expression, and objectively promotes the intersection, integration and interaction between styles. The fourth chapter explores the influence of Su Zhe's mentality in the context of his later life on his prose writing. During the period of leisure, he always upholds the feelings of Confucian scholars who "worries first before being happy" and has the thought and pursuit of Yan Zi's happiness. He has an understanding of the principles of Buddhism and Taoism. These factors have influenced the temperament, the overall style, ideological connotation and formal structure of his later articles.