本文旨在重新揭示出李商隐古体诗的艺术特征及其在诗歌史中的位置。论文第一章对李商隐古体、歌行进行诗体观照。第一节指出，李商隐有意识地区分古体、歌行。被李商隐视为歌行的作品将“重物”的特点推向极致，强调体物与讽刺，放弃了个体抒情叙事，在效法长吉体的基础上复归齐梁歌行。近体诗律成熟定型后，歌行体裁的独立性面临挑战。温李歌行对齐梁血脉的复归窄化了歌行的表现能力，无力阻挡歌行体裁独立性的失落。第二节指出，《韩碑》是李商隐集中最典型的一首“破体为诗”的作品。李商隐对《平淮西碑》的推崇，既表现在诗歌内容中，也反映在诗歌的形式上。“斯文不朽”是李商隐用心研习、模拟碑文后的确认。《韩碑》模仿韩文、韩诗，打破了晚唐七古之体。
第二章探讨李商隐古体诗的抒情艺术。第一节从李商隐古体短制中提炼出“纤弱哀愁的等待者”这一抒情形象，指出其生成的深层次的社会心理因素在于寒素出身与科举入仕之间复杂矛盾的关系，这些短篇诗歌呈现出社会变动时期寒素科举文人心灵世界的一个侧面。第二节探讨李商隐对“长吉体”的承变及形塑。李贺诗中的断片、对感官印象的强调给了李商隐创作灵感，李商隐通过错置时间顺序，用情意统摄物象等方式，形成了与李贺不同的诗境。《李贺小传》是后世李贺其人其诗传播的重要源头，李商隐建构起了“锦囊句”的碎片印象，后人对李贺诗歌章法结构的一些误解与成见也源于此。
第三章第一节探求《行次西郊作一百韵》的诗歌史价值，认为诗中形成了以长安西郊为中心的辐射型空间结构，通过长安西郊景况的变迁烛照出百年间李唐王朝的兴盛与倾颓。本诗注重在叙事中探寻历史规律，回溯历史之法与唐代实录相通。第二节探究《井泥四十韵》的隶事与议论，指出本诗与《易》关系密切，诗歌通过鳞次大量史事传说，呈现变幻莫测的物理，对咏物、咏史、咏怀三大诗歌传统有所因革，已开宋代咏物诗先河。第三节探究李商隐古体诗中的自我叙事与自我呈现。李商隐古体长诗往往对人生进行全景式的回顾，古体诗自我叙事以“才华”为中心，包括前辈的赏识、对才华的自矜、有才无命的自伤，乃至对辞赋文才的贬低与牢骚等，才与命的冲突萦绕在李商隐一生的创作中。
相比近体诗，李商隐古体诗的艺术价值整体偏弱。但正是在充分揭示其古体诗的艺术价值后，我们才能更好地理解李商隐何以是众体兼备、尤擅近体的大家。在晚唐古体诗发展脉络中，李商隐古体诗是重要的一环，自有其诗歌史意义。李商隐古体诗的接受反映出一个诗学问题，即中国古代“以体言诗、因人命体”的传统，往往导向对诗人诗歌某一向度的彰显，难免遮蔽其余部分。对此，研究者需要回归文本，不断趋近艺术的本真。
 

This article aims to reveal the artistic characteristics of Li Shangyin's ancient style poetry and its position in the history of poetry. The first chapter provides a poetic observation of Li Shangyin's ancient style and gexing（歌行）. The first section points out that Li Shangyin consciously distinguishes between ancient styles and gexing. The works he regarded as gexing push the characteristics of "emphasis on image(重物)" to the extreme, abandoning individual lyrical narration, and returning to the Qiliang(齐梁) gexing on the basis of imitating Changji style（长吉体）. After the maturity and finalization of modern poetry metre（近体诗律）, the independence of gexing genres faces challenges. The restoration of Qiliang gexing narrows the expressive ability, and is unable to prevent the loss of genre independence of gexing. The second section points out that Han Bei(韩碑) is the most typical work of Li Shangyin's concentration that "breaking the boundaries of literary genres". Li Shangyin's admiration for the Pinghuaixi Bei（平淮西碑） is reflected not only in the content of the poem but also in its form. Its immortal literary style was confirmed by Li Shangyin after carefully studying and imitating the inscriptions on the stele. The Han Bei imitates Han Yu's inscriptions, breaking the Qigu(七古) styles of poems in the late Tang Dynasty.
Chapter 2 explores the lyrical art of Li Shangyin's ancient style poetry. The first section extracts the lyrical image of "delicate and sorrowful waiters" from Li Shangyin's ancient short poems, pointing out that the deep-seated social and psychological factors it generates lie in the complex and contradictory relationship between poor class background and imperial examination and official career. These short poems present a side of the spiritual world of poor imperial examination literati during the period of social change. The second section explores Li Shangyin's inheritance and shaping of the Changji style. The fragments and emphasis on sensory impressions in Li He's poetry gave Li Shangyin inspiration for his creation. Li Shangyin formed a different poetic atmosphere from Li He by misplacing the chronological order and using emotions to control objects. The "Biography of Li He" is an important source of the dissemination of Li He's poetry in later generations. Li Shangyin constructed a fragmented impression of the "golden bag sentence", and some misunderstandings and prejudices about the structure of Li He's poetry in later generations also stem from this.
The first section of Chapter 3 explores the historical value of the poem A Hundred Rhymes in the Western Suburbs of Chang'an(行次西郊作一百韵), and believes that a radiating spatial structure centered around the western suburbs of Chang'an has been formed in the poem. Through the changes in the scenery of the western suburbs of Chang'an, the prosperity and decline of the Li Tang Dynasty over the past century are reflected. This poem focuses on exploring historical laws in narrative, and the method of tracing history is consistent with Tang Dynasty records. The second section explores the official affairs and discussions of The Forty Rhymes of Well Mud（井泥四十韵）, pointing out that this poem is closely related to Yi（易）. The poem presents unpredictable physics through a large number of historical legends and scales, which has revolutionized the three major poetic traditions of chanting objects, history, and nostalgia, and has pioneered the poetry of chanting objects in the Song Dynasty. The third section explores the self narrative and the presentation of self in Li Shangyin's ancient style poetry. Li Shangyin's ancient style poetry often provides a panoramic review of life. The self narrative of ancient style poetry revolves around "talent", including the appreciation of predecessors, the arrogance of talent, the self injury of being incompetent, and even the belittling and complaining of literary talent. The conflict between talent and destiny lingers in Li Shangyin's creation throughout his life.
Compared to modern style poetry, the artistic value of Li Shangyin's ancient style poetry is generally weak. But it is precisely after fully revealing the artistic value of his ancient style poetry that we can better understand why Li Shangyin is a master of both variety and closeness. In the development of ancient style poetry in the late Tang Dynasty, Li Shangyin's ancient style poetry is a very important part, with its historical significance in poetry. The acceptance of Li Shangyin's ancient style poetry reflects a poetic phenomenon. The traditional Chinese tradition of "expressing poetry through style and expressing poetry through poet's name" often leads to the manifestation of a certain aspect of the poet's poetry, inevitably obscuring the rest. In this regard, researchers need to return to the text and constantly approach the essence of art.