杜甫為古典詩歌之典範，不僅是唐詩之代表，更是宋調之開山，影響宋詩特色之形成。杜甫詩歌之不朽價值，創始之功居多。即以題詠圖畫而言，杜甫所作，自是唐人詠畫格調，又往往為宋人詠畫之開山。杜甫題畫，以畫馬、畫鷹、畫山水最有特色，數量較多，成就最高；其他，尚有畫松、畫鶴、畫鶻之倫，亦有可觀。相對於宋代題畫詩而言，杜甫開創之題畫技法有三：其一，以真擬畫；其二，以畫法為詩法；其三，因圖畫而興寄。就「詩情畫意，相得益彰」之題畫功能而言，杜甫題畫又表現三大手法：其一，化美為媚；其二，拓展畫境；其三，再現畫面。宋人所謂「丹青吟詠，妙處相資」；所謂「畫難畫之景，以詩湊成；吟難吟之詩，以畫補足」，畫家之慘澹經營，詩人之揣摩創發，此中可窺一斑。

Du Fu, as the paradigm of classical poetry, is not only the representative of Tang poetry, but also the originator of Song style.He influences the characteristic formation of Song poetry and shows the enduring value for his innovative masterworks. For instance, inscription poems written by Du Fu fit with Tang’s tune from head to heel, but it also initiate distinct atmosphere in Song dynasty. Themost remarkable inscription poemswritten by Du Fu are paintings toward horses, eagles and landscapes. Moreover, his inscription poems on pines, cranes and falcons also deserve to be mentioned. For poets in Song dynasty, Du Fu creates three inscriptive techniques. First, uses real things as metaphors for the scene. Second, uses techniques of painting to aid one’s writings. Third, dwell on the wonderland of paintings. Therefore, Du Fu pays attention to the resonance between poems and paintings, and he uses three techniques to achieve his goals: transforms a beauty into an allurement, expands the boundary and the level, and represents the general appearance of the picture. As a result, we would see how painters and poets develop their techniques, resonant between poems and paintings, to make extraordinarily painstaking efforts.