Tang (Dynasty) poem in Chinese literary history is positioned as the supreme poem as well as the great literary and cultural heritage of China and therefore, it should not be assessed simply as a poetic genre in the history. The reason why reading and appreciating Tang poem in order to understand Chinese culture and thought is meaningful is that the background of Chinese consciousness is implied in Tang poem as China itself. In particular, Tang poem is not just limited to Chinese literature. Tang poem, as a great human cultural heritage, had also influenced over our literature directly and indirectly. And there has been a lot of controversies so far while discussing over what signifies Tang poetry style in a differentiated perspective with Song (Dynasty) poem in connection with so-called Tang poetry style that was our classic poetry following Tang poetry style.
In this regard, this study reviewed a pattern as to how literary historic value and features of Tang poem had been accommodated in our Chinese poetic literature and influenced over our such literature.
Poetic achievement of Tang poem that was assessed as the greatest value in Chinese literary history had underwent accommodation, transformation and development process in connection with our Chinese poem. Overall current of our Chinese poetic history had shown its own unique pattern depending on each times or poets along with their tendency of learning Chinese Tang poem or Song poem.
It goes without saying that strenuous effort of our ancestors who tried to improve poetic level qualitatively of their own by modeling Chinese superior poems in advance was imbued in this issue of learning Tang (poem) or Song (poem). In our Chinese poetic history, Chinese poetry style has an aspect of having partly accommodated Chinese poetic achievements as they are or further developed them partly as well and its summary is as follows.
First, our Tang poetry style succeeded poetry school mainly based on Jeol-gwi (절귀), not a verse (율시), in its style. There were a lot of poets who left master poems even in verse among the poets of early poetry school (학당) but while passing through early 16 century, as its style was gradually concentrated on Jeol-gwi in general, we could not find any outstanding works in particular in addition to Jeol-gwi.
In addition, most of this Jeol-gwi was also concentrated on 7-lettered poem instead of 5-lettered poem.
Second is accommodation of romantic features. Romantic features is the one that could be seen mainly in Lee, Baek’s poems in terms of the fact that it expressed poem motivated by imagination of poets, not by their experience, like unworldly expression or royal poem (궁사), Boudoir lament poem (규원시) or Frontier poem (변색시). These features could be seen conspicuously in our Chinese poetry style as time passes and it is considered that this trend may be mainly influenced by poems of Lee, Hu-baik who worshipped poems of Lee, Baek.
Third is accommodation of sensual, splendid (염려) and luxurious (기미) expressions. In the early poetry school, such expression was prominent and gradually, its expression had been steadily imbued with refined and delicate touch strongly.
Fourth is accommodation of introvert, static expression. This way of expression is to show poetic emotion implicitly with understated sense without directly exposing its emotion. Therefore, such poems have a tendency of naturally introvert and static pattern. As these features are elements harmonized with our emotion, it is hard to regard such elements as a specific poet’s influence.
Fifth, elements like maximization of image exploitation and strengthening accustomed Tang poem and reading poem (소리 시) could be enumerated and these elements are evaluated to be a unique poetic achievement of our poetic school that was almost impossible to be found in Tang poem and an early poetic school.
Learning Tang (poem) of our country had been succeeded by starting from Go-wun Choi, Chi-won who mastered late Tang’s poetic style at the end of Tang Dynasty to Choseon Dynasty through Koreo Dynasty continuously. Even though our poetic school concentrated on learning Song poem rather than learning Tang (poem) during Koreo Dynasty and early Choseon Dynasty but it is considered that in its hidden side, concern over learning Tang and volition for its poetic creation had been actually thrived all the time so much as not to be disappeared at all.
This study exerted its effort in order to enhance a comprehensive understanding for Tang poetry style that was not systematic and scattered in the existing study and it is considered that a foundation, through which accommodation aspect of Tang poem in our Chinese poetic literature and its poetic characteristics could be understood, has been provided to a certain degree.