During the Xuanzu period of the Joseon Dynasty, poets began to emulate Tang Poetry instead of Song Poetry, coinciding with the peak of Santang Poets’ fame and literary excellence. The period is momentous in the history of accepting Tang poetry, differing significantly from both the Guanghaijun and Renzu periods and developments in China. Firstly, the acceptance of Tang Poetry during this period was influenced significantly by Hunan poets of the Joseon Dynasty, especially Lee Houbai and Park Soon. It was also shaped by the Tang Poetry studies during the Yuan and Ming dynasties, including the Tang Poetry anthology Tang Poetry Jueju or Sound of Tang Dynasty, and prosody works such as The Source of Poetry Practice or Wenquan. The famous poet Lee Dongyang further contributed to this influence. It is crucial to emphasize that Qianhou Qizi in the Ming Dynasty was not the cause of Santang Poets, not only due to the time difference in the collection’s circulation but because their learning objectives, style, literary quotations, and literary form were different. Clear judgments on this matter were made by Joseon poets Shen Yisheng and Kim Changxie. Secondly, emphasizing writing over prosody theory, the poetry of this period reflected genuine and sincere emotions with fewer literary quotations and a focus on imagery. The pursuit of the rhyme beauty of poetry distinguished it from Song Poetry, which paid attention to knowledge and discussion. In addition, there are two signs that poets of the Xuanzu period emulated Tang Poetry. Firstly, they wrote Jiju, Ciyun, or Xiaoti represented by Gao Jingming. Secondly, they adopted titles of Tang Poetry represented by Xu Lanxuexuan. Additionally, they learned from the observation of the world, emotional modes, poetic methods, styles, artistic conceptions, and aesthetic ideals of Tang Dynasty poets. Collectively, they sought the purity of Tang poetry style with a cultural mentality that admired ancient Chinese culture. Last but not least, accepting media played an important guiding role in selecting a model from Tang poetry. For example, Sushi and Zhuxi played a significant role in promoting Wei Yingwu’s poems, which subsequently became classics in the Joseon Dynasty. They also distinguished between learning from Dufu and learning from Tang Poetry.
宣祖時期打破朝鮮詩壇二百年學蘇的局面, 由宋轉唐, 並孕育了“三唐”詩人這一宗唐創作高峰, 是朝鮮時代唐詩接受的關鍵時期｡ 其唐詩接受既與其後光海君、仁祖時期呈現不同的階段性特點, 也與中國本土的唐詩接受不同｡ 首先, 在宗唐緣起方面, 既得益於本土湖南詩壇李後白與文衡朴淳的引導, 又受到元明唐詩學影響, 如唐詩選本≪唐詩絕句≫≪唐音≫、格法著作≪詩法源流≫≪文筌≫以及李東陽等｡ 從文集流傳時間差以及取法對象、風格、用典、詩體的差異來看, 明代前後“七子”並非宣祖詩人的宗唐緣起｡ 朝鮮詩人申翊聖、金昌協對此有明確判斷｡ 其次, 宣祖時期的唐詩接受具有很強的實踐屬性, 重創作、輕理論｡ 打破宋詩的以學問爲詩、以議論爲詩, 重性情之真與性情之正, 少用典而重興象的建構, 並注重詩歌的聲韻美｡ 再次, 關於宣祖詩壇對唐詩的摹擬方式, 創作上以集句、次韻、效體(以高敬命爲代表)或沿襲唐人詩題(以許蘭雪軒爲代表)爲接受標誌, 同時包括對唐代詩人觀物方式、情感模式、詩法、風格、意境與審美理想的深層接受｡ 總體上追求的是唐詩格調的純粹, 宗唐得似, 其背後是嚴辨華夷、欽慕中华的文化心態｡ 最後, 關於唐詩典範的選擇, 接受媒介具有重要導向作用, 如蘇軾與朱熹共同促進了韋應物詩在朝鮮的經典化, 並認爲學杜不等於學唐｡
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