本文探討〈美人梳頭歌〉歷代同題詩作的互文關係，以及此詩題發展脈絡中呈現的文學史意義。就互文關係而言，歷代詩作共同形塑了此詩題之情調與內涵：主題安排上，歷代詩作之場景設定大抵相同，但對「梳妝」活動之內在動機與後續行動則各有發揮，豐富此詩題之可能性；其次，意象經營上，李賀詩中尤以芙蓉與轆轤意象最具深意；但後代詩作亦衍生出以禽鳥意象為主的新傳統。就文學史意義而言，一方面，後代詩作中往往取用李賀詩藝，足見後代詩人肯定的是李賀的整體藝術成就，而不僅肯定李賀於此詩題之貢獻。另一方面，歷代詩作整體呈現出一條對齊梁宮體豔詩的超越與回歸的路徑：李賀詩作超越宮體豔詩的觀看情調，彰顯美人之主體性；後代詩作則漸回歸宮體豔詩之意味，但在安排觀看視角的藝術手法上亦有創發。

This paper will deal with the intertextuality between Li He's ”Song of a Beauty Combing Her Hair” and the poems of the same title written after the Tang Dynasty. I will explore the significance of the aforesaid intertextuality in the context of Chinese literary history.As for the relationship of intertextuality, there are some similarities and differences between poems of the title ”Song of a Beauty Combing Her Hair.” First, the scenes in the poems of the title ”Song of a Beauty Combing Her Hair” are quite similar, but the motives of the act of combing hair vary. Secondly, while the most prominent images in Li He's poem are the lotus flower and the windlass, other poets usually use the image of the bird.I mainly have two arguments in this paper. First, the poets who respond to Li He's ”Song of a Beauty Combing Her Hair” imitate not only his title but also his poetics. In this sense, Li He's contribution to the tradition of ”Song of a Beauty Combing Her Hair” is more than creating a title. Secondly, if we situate these poems in the context of Chinese literary history, we can observe that the development of the theme of a combing-hair beauty shows both the transcending of and the returning to the tradition of ”Palace Style Poetry,” which objectifies the woman. In Li He's poem, the woman is represented as a ”subject” rather than an ”object” of the male gaze. In contrast, other poets who use the title of Li He's poem return to the tradition of ”Palace Style Poetry.” These poets depict the woman as an object, but they create new angles from which a woman is gazed by the man.