杜甫〈登岳陽樓〉為其五言律詩的名篇，歷代評論者對其評價甚高，讚譽為五言雄渾之絕、千古絕唱、絕調，推崇此詩能與洞庭爭雄，宜使後人擱筆。既然歷代評論者對〈登岳陽樓〉評價甚高，此詩必有其無人能及的藝術特徵和價值，而成為歷代公認的典範作品。所以，探析此詩的典範意義的具體內涵，就有其可行性及必要性。綜觀歷代對杜甫〈登岳陽樓〉的討論，以明清時代的唐詩選評較為集中，所以本文即以明清選評為考察範圍，析論杜甫五律〈登岳陽樓〉的典範意義。首先，考察明清時代對於杜甫五律的評價與選評〈登岳陽樓〉概況。揭示杜甫在五言律詩創作上的藝術成就和意義，並且歸納整理明清時代唐詩選本對於〈登岳陽樓〉的採選情形，證明其典範位置的確立。其次，析論明清選評下〈登岳陽樓〉的藝術典範。考索明清學者對於〈登岳陽樓〉的討論，分析其藝術特徵，揭示其典範結構的內涵。然後將杜甫〈登岳陽樓〉與孟浩然〈臨洞庭上張丞相〉，作一對比和論評，分析明清學者對二詩評價，說明杜詩如何突顯其典範性，超拔孟詩，成為歷代登岳陽樓詩的典範。希望藉由本文的分析和論證，能使現代讀者對於杜甫五律〈登岳陽樓〉的典範意義有更深入的理解。

Tu Fu’s Ascending Yueyang Tower is a masterpiece among his five-character regulated verses, and it has received high appraisal from commenters in each Chinese Dynasty. It is esteemed by many critics as an ultimate five-character regulated poem with inner power. It is also praised as an unprecedented poetic work in Chinese literature history. Moreover, it is even regarded as magnificent as the astonishing beauty of Dongting Lake, and no other art works after it can surpass its greatness. Due to the high evaluation on Ascending Yueyang Tower from the critics in each Dynasty, it must possess incomparable artistic traits and values that contribute to its status as a well recognized canon artwork. As a result, it becomes necessary and feasible to explore the concrete connotation of this poem’s canon implication. Since the overall discussions on Tu Fu’s Ascending Yueyang Tower concentrate on Tang Poem Selections collected in Ming and Qing Dynasty, this paper has chosen the criticisms in Ming and Qing Dynasty as our investigative scope to analyze and comment on Tu Fu’s five-character regulated verse-- Ascending Yueyang Tower. Initially, we investigated the general condition of the evaluations and selected criticisms on Tu Fu’s five-character regulated verse-- Ascending Yueyang Tower. It has revealed Tu Fu’s artistic achievement and significance in composing five-character regulated poems. Additionally, by generalizing and organizing Tang Poem Selections in Ming and Qing Dynasty, it is found that many selections collected Ascending Yueyang Tower, demonstrating this poem’s canon status. Then, this paper has analyzed the artistic canon of Ascending Yueyang Tower in Ming’s and Qing’s selected criticisms. It explored Ming and Qing Dynasty’s academic reviews on Ascending Yueyang Tower, analyzed the poem’s artistic traits, and showed the components of its canon structure. In the end, this paper compared and made comment on Tu Fu’s Ascending Yueyang Tower and Meng Hou-Zang’s To Prime Minister Zhang from the Bank of Dongting Lake, attempting to have a clear idea of how scholars in Ming and Qing Dynasty evaluated these two poems. In other words, this paper illustrated how Tu Fu’s verse showed its canon nature and was thus superior to Meng’s poem to serve as a paradigm for creating ascending Yueyang Tower in each Dynasty. By the analysis and arguments in this paper, it is expected that Modern readers can obtain a more profound comprehension of the canon implication in Tu Fu’s Ascending Yueyang Tower.