唐代華山書寫系列的山嶽賦家，除逕以《昭明文選》中的＜遊天台山賦＞作為其近代經典閱讀的具體鵠的，並亟思探索尋繹李唐帝國山嶽賦的新變論述，其中應亦別自借鑑其他與山嶽關涉的經典書寫，例如冠列漢代群賦之首的「京都」賦，應為唐代華山賦家足資融鑄會通的另一經典，於是唐代賦家出之以經典轉化的變創之姿，締構其以山嶽、京都、帝國…等等多面向的文化論述，並藉此展現李唐帝國盛衰嬗變的當代脈動，從而輝映唐代帝國之山嶽書寫文化意蘊。因此藉由山嶽賦此一時期歷史現象之考察，不僅有益中國辭賦上山嶽書寫史之補闕，亦應對中國山水文學及其歷史文化之學術研究有所助益。 When Tang dynasty authors of "lofty mountain rhapsodies" (Shanyue fu 山嶽賦) wrote series of fu depicting Mount Hua 華山, they took as their principle reference point "You Tiantaishan fu" 遊天台山賦 (Rhapsody on Wandering on Mount Tiantai), a fu collected in the Zhao ming wen xuan 昭明文選. They eagerly explored a new Tang dynasty discourse on Shanyue fu, also drawing from other classic writings involving mountains contained in the Zhao ming wen xuan. For example, "rhapsodies on metropolises and capitals" (Jingdu fu 京都賦) were another object lesson in classic fu for Tang dynasty writers. By reading various types of literary selections from the Zhao ming wen xuan and by comprehending other classics of the genre, they were able to construct a cultural discourse on mountains, the capital, and the empire, and through this express the changing fortunes of the Tang Empire, and thus the connotations of the culture of mountain writing at that time. For this reason, exploring the lofty mountain rhapsodies of this period helps to supplement our understanding of the position of ci 辭and fu in the history of mountain writing, and also benefits research into Chinese landscape literature, its culture and history.