不論唐人或後人，對錢起詩的評語，大都稱其「清秀」，此一結論，應該是以錢起山水詩為觀察重點所得。錢的山水詩有五個特點，透過這些特點，可以看出他具有謝靈運及王維的風貌。而錢詩中，襲用、變用謝詩詩句處甚多，在技巧上，亦有力求貼近謝的傾向。錢也經常在詩中表達對謝的崇仰，而其生命情調，如長於佛理，依乎老莊，不忘棲隱等，亦與謝相似，受謝的影響，至為明顯。 謝、錢詩作，有極為微妙的血緣關係；在普遍受到盛唐、中唐詩人效法的陶淵明、謝靈運及謝脁三人中，錢起受大謝的影響最大，其次是陶，再其次才是小謝。

Most people, no matter in the Tang Dynasty or later times, thought Chien Chi’s poems were clear and graceful. Such conclusion shall come from the observation in Chien Chi’s landscape poetry. There were five specialties on Chien Chi’s landscape poetry. Through those specialties, we may find out that he had the style of Hsieh Ling-Yun and Wang Wei. In Chien Chi’s poetry, he repeated and changed many verses of Hsieh Ling-Yun’s poetry. Technically, he had the intention to resemble Hsieh Ling-Yun’s style. Besides, Chien had frequently expressed his admiration of Hsieh Ling-Yun. As to his philosophy of life, such as good at the teaching of Buddhism and close to philosophy of Chuan Tze, and the desire for seclusion, were apparently similar to Hsieh and were influenced by Hsieh. The poetry of Chien and Hsieh had very subtle relations. Of the three poets: Tao Yen-Ming, Hsieh Ling-Yun and Hsieh Tiao, who have been generally imitated by poets at the period of full literary grandeur in the Tang Dynasty (8th century) and middle period of Tang Dynasty, Chien was influenced by Hsieh Ling-Yun the most, then Tao, and Hsieh Tao to the lesser degree.