詩歌選本選錄作品的多寡與評點，可以反應選詩者對詩人與詩作的評價。唐宋時期的詩歌選本，不甚重視李頎七言律詩，選詩數量不多。至明代高棅《唐詩品彙》、李攀龍《古今詩刪》將其七首七律全部收錄，給予極高評價，方扭轉李頎七律地位，成為復古派詩人模擬學習之典範。清初毛奇齡、王夫之等人不滿明七子模擬之習，連帶否定李頎的成就。本文透過兩方面討論李頎七律：首先，沈德潛於《唐詩別裁集》調和明清詩人對李頎之褒貶，並收錄七首七律，數量為盛唐第三，肯定其詩歌價值。其次、就沈氏選詩原則與詩觀，分別透過風格、用事、鍊字、聲律，探究李頎七律所呈現的藝術風貌。

The number of poems and commentaries in a poem anthology reflects the appraisal of a poet and poem by an editor. Li Qi’s regulated verses in the seven-syllable line are at a discount in poem anthologies of Tang and Song dynasties. So there are few Li Qi’s poems in poem anthologies. Gan Bing’s “Tang Shi Pin Hui” and Li Pan Long’s “Gu Jin Shi Shan” in Ming dynasty accumulate Li Qi’s seven regulated verses in the seven-syllable line, and give Li Qi the extremely high appraisal. So these anthologies reverse Li Qi’s status. Li Qi’s poems become the simulation and the study model of classical poets. In early Qing, Mao Qi Ling and Wang Fu Zhi don’t like Qi-Zi’s plagiarizing, sothey deny Li Qi’s attainment. This thesis penetrates two aspects to discuss: First, Shen De Qian compromises poets in the Ming and Qing dynasties to appraisal, and accumulates Li Qi’s seven verses with seven characters to a line. The amount is the third in High Tang. So Shen De Qian affirms Li Qi’s poems of value. Second, the thesis focus on “style”, “use of reference”, “refining words” and “versification” from Shen De Qian’s selection principles and view of poetry, and then try to study the characteristic of Li Qi’s regulated verses in the seven-syllable line.