以現存資料來看，唐律賦是唐賦中最多的一體，律賦係限韻應試作品，本屬科舉制度下產物，長期以來受古文家的鄙視與詬病，自元代科舉廢考律賦後，明代李夢陽更提出「唐無賦」的論點。時至清代，律賦才受到應有的重視。清代學者正面肯定了唐律賦的獨特地位，並且著手擬作，編撰了不少的賦論專著，如李調元《雨村賦話》、王芑孫《讀賦卮言》等，尤其不乏論述唐律賦的專門篇章。 王起律賦多達六十五篇，內容多論及立身治國、典禮制度，每有風教意味。簡宗梧在其唐律賦典範整理時，王起作品便屢被提及，代表作品〈庭燎賦〉更被視為王起律賦的壓卷之作，在藝術手法方面自有其造詣。不過本賦典出《詩經．小雅．庭燎》，幾乎是據《詩經》庭燎三章之句意衍生鋪寫而來。畢萬枕等人認為「賦的立意和題材都受《詩經．小雅．庭燎》的影響，連語言也仰給于《詩經》。」可見該賦與《詩經》的關係的確密切。

Based on the data available now, Tang Lu-fu is pigeonholed as the very one type with the largest number in the Tang Dynasty. Lu-fu, an end-product as well as one of the test subjects of imperial examinations, has, so much so, for years been given a thumbs down by paleographers. In the wake of the abolishment of Lu-fu in the Yuan Dynasty, Li Meng-Yang in the Ming Dynasty soon proposed his stance, asserting that Fu is completely absent from the Tang Dynasty. However, not until the advent of the Qing Dynasty was Lu-fu given the carte blanche to stand in the limelight. Accordingly, a plethora of scholars in the Qing Dynasty started to recognize the crucial status in which Tang Lu-fu is posited, which contributed to the complication of lashings of relevant publications at that time. Works like Li Diao-yuan’s Yu-Cun-Fu-Hua and Wang Qi-sun’s Du-Fu-E-Yan are exemplary ones. More than 65 masterpieces composed by Wang-qi are available now, with topics ranging from statecraft to ceremonial rituals. And those composed by Wang-qi are, very often, mentioned and excerpted in Jian Zong-wu’s complication of exemplary works of Tang Lu-fu, of which Ting-liao Fu is the most impressive and successful one. On the other hand, it is suggested that the subject matter and leitmotif of Fu are immensely influenced by ShiJing-XiaoYa-TingLiao. Its language style is no exception. Such would be the evidence bearing witness to the close relation between them two.