闽中诗派是与明朝相始终的一个独特的诗派。这一诗派的成员大多来自福州各县，以唐诗为宗法对象，醉心于盛唐诗歌的雅致高华。以往的唐诗学研究者大多关注这一诗派早期的代表评论家高棅及其《唐诗品汇》，肯定《品汇》对明朝的拟唐风气起到了引导和推动的作用，是明代“格调论”的先声；而关注闽中诗派的学者则又多注重闽中诗人诗歌创作的各自特色，未及探求这些特色产生的深层原因。本文拟以闽中诗人在明代初期、前期、中期和晚期的唐诗接受情况为切入点，考察明初福州诗坛“独尊盛唐”的文化背景、《唐诗品汇》和《唐诗正声》的影响力问题、“独尊盛唐”宗旨汇入诗坛主流的方式、以摹拟“盛唐之音”为宗旨建构本土传统的经过、本土诗歌传统对新主流及新风气的抵触和吸收、晚明闽中诗派宗法四唐的成因。本文首先追本溯源，通过考察元末明初诗学文献，发现福州的地域文化中具有“道南理窟”的性质，在元代并未形成学唐的风气。直到元代中后期，福州诗人在与主流诗坛和邵武诗人的交往后，才开始摹拟唐诗。这一过程始于张以宁，继之者为明初林鸿，林鸿又将诗法传授给高棅、周玄、黄玄等人，由此慢慢扩大影响。高棅在理学文艺观上重新解释了诗歌“独尊盛唐”，使之适合明初的政治需要。随着高棅、王褒、王恭、周玄、郑定等人入京任职，他们的创作成为“鸣国家之盛”一类诗歌的典范，促成了绵延半个世纪的台阁体诗风。同时通过列表比较，说明高棅的《唐诗品汇》和《唐诗正声》是明清唐诗选集最重要的底本。而且，通过成化时期的出版情况，我们也能发现在中央政权控制力减弱的这段时间里，福州的一些文人开始整理明初诸子的诗集，初步建立了一个以“唐音”为评价标准，以林鸿、高棅、王恭为源头的本土诗歌传统。正德初，由于政治的黑暗和君主的无道，士人中掀起一股追求清明政治的风潮，此期的诗歌激昂慷慨，以继承杜甫的精神和诗风为特色。闽中郑善夫在与“前七子”的交往中受到他们的影响，把这种诗风带回了福州，吸引了不少年轻人，但同时受到了更多人的抵触。这种现象与林鸿当年返乡后遭到的冷遇类似，表明本地既有的诗歌传统（甚至是文化传统）对于背叛本派传统、皈依新的主流或风尚的“叛徒”的敌意。但是，当接触、交往不断增加时，这些传统守护者往往乐于接纳、吸收别派的优点，然后在自己的既有传统基础上形成新的观念。通过分析晚明的《小草斋诗话》和《石仓十二代诗选》，我们可以发现，晚明闽中诗人和评论家在与格调派、公安派、竟陵派等主流诗派或者诗坛新时尚的交往中，不断地吸收各派诗论的特点，不再坚持以盛唐诗歌为惟一榜样，而是提倡重视诗人性情，学习与自己性格、才情类似的唐代诗人，形成了比较通达的唐诗观念。

Minzhong Poetry School was a distinctive poem clique in the Ming Dynasty. Most of the members in Minzhong Poetry School came from towns and countries around Fuzhou. They imitated rules and styles from Tang Poetries and adored the elegant poetries during the most prosperous period of the Tang Dynasty. Previously, researchers on Tang Poetries Theories mostly focused on Bing Gao, the representative reviewer during the initial stage of this poetry school, and his composition “Comments and Collections of Tang Poetries”. They believed “Comments and Collections of Tang Poetries” to lead and promote the practice of imitation Tang Poetries and be origin of “Poetry Style Theory” of Ming Dynasty. In the other hand researchers on the scholars of Minzhong Poetry School focused on the poems themselves and their poetries and did not investigate the grounds for these poetries and poems. This paper will begin with the acceptance of Tang Poetries in the initial, earlier, middle and later period of the Ming Dynasty and then explore the cultural background of the phenomena “Prominently Adoring Prospectus Tang Poetries Style” in Fujian and analyze the influence of “Comments and Collections of Tang Poetries” and “Genuine Tang Poetries” and investigate the path of “Prominently Adoring Prospectus Tang Poetries Style” becoming the main stream in poetries field and study the course of establishment of local convention basing on imitating “Poetries of Prospectus Tang Poetries” and inspect the contradicting and absorbing of new main stream and styles and finally unveil the course of following the Tang Poetry styles of four period (beginning, prospectus, middle and later stage of Tang Dynasty).In order to trace to its source, through studying the poetries theory literature in the later stage of Yuan Dynasty and the earlier stage of Ming Dynasty I found that Fuzhou’s regional culture was a “Confucian school of idealist philosophy” while the imitation of Tang Poetries was not established in the Yuan Dynasty. It was up to the middle and later Yuan Dynasty after association with main stream and Shaowu poems in Fuzhou started to imitate Tang Poetries. This course began with Yining Zhang and Hong Lin continued, then Hong Lin passed his poetry methodologies to Bing Gao, Xuan Zhou, Xuan Zhou etc. The impacts were expanded gradually from then on. Bing Gao re-elucidated the “Prominently Adoring Prospectus Tang Poetries Style” from the perspective of Confucian school of idealist philosophy and made it to meet the political needs. With Bing Gao, Bao Wang, Gong Wang, Xuan Zhou and Ding Zheng were appointed positions, their works turned into paragon of “extolling the prosperous and strong country” poetries and produced Royal Poetry Style, which lasting for half of century. Through comparison with other collections for Tang Poetries, “Comments and Collections of Tang Poetries” and “Genuine Tang Poetries” of Bing Gao were the most important copies for selection of Tang Poetries in Ming and Qing Dynasty. At the same time, based on the publishes in the period of Chenghua, scholars in Funzhou started to get together the poetries collections of scholars in the earlier stage of Ming Dynasty and established a poetry convention with the “Tang Style” evaluation standard and source from Hong Lin, Bing Gao and Gong Wang. In the beginning of Zhengde, some scholars pursued incorruptible political atmosphere to against the obscure politics and brutal emperor. The poetries during this period were aroused and inherited Fu Du’s spirits and styles. Shangfu Zheng from Fu Jian was influenced by Seven Scholars in early Ming Dynasty when contracting with them and brought them to Fuzhou. Poetry students were attracted by the style above. Meanwhile more scholars contradict it, which was similar with Hong Lin’s bad experience when he went back home. This demonstrated that the local existing poetry convention (even the cultural convention) had hostility to the betrayer who forsook their own tradition and pursued new main streams or styles. However, with the increasing of contact and association, these local tradition protectors always were happy to accept and absorb the virtue of other schools and then established new notions basing on existing traditions. After analyzing “Poetries Notes in Xiaocao Zhai” and “Poetries Selection of Shicang 12 Dynasties” written in the later Ming Dynasty, we found that poems and critics in Fuzhou absorbed features from other poetry schools and did not insist the only Prospectus Tang Poetries Style when associating with main stream poetry schools such as Poetry Style School, Gongan Poetry School and Jingling Poetry School or new poetry fashions. They advocated attaching importance to poems’ dispositions and learning from poems of Tang Dynasty with similar tempers. Finally an understanding notion came into being.