臺灣賦家曹敬（1817~1859）所撰〈擬鮑明遠舞鶴賦〉，並非清代賦壇偶見，經文獻檢索，尚可找到內地賦家的十五篇類似之作。本文認為，曹敬賦與其他十五篇的最大不同，在於用律賦體進行擬作。而這群擬作雖然也對原作中鶴「掩雲羅而見羈」的處境進行反思，但其主要興趣仍在鶴舞「盡態極妍」的鋪敘描摹。此外，賦家們筆下舞技非凡的鶴，也正是其賦「欲使人不能加」的投射，鶴體與賦體相互隱喻，賦家們形容「擬作」中鶴的舞技「莫可擬仿」，實為清代賦學意識「思齊」與「爭勝」交織的縮影。

Taiwanese writer Cao Jing’s “The Fu modeled Bao Zhao’s Dancing Crane Fu” was not the only one imitation in Qing Dynasty. There were fifteen similar works in mainland China. The difference between Cao Jing and others was Cao Jing writing in metric style. These imitative works were devoted to the description of the flying crane posture. The flying crane in the works symbolized the extraordinary Fu--the flying crane can not be imitated means the Fu of Qing Dynasty is unmatchable.