本文旨在經由對於「唐人詩格」與「唐人選唐詩」的分析，探索唐代七言格律的相關問題。第一部分析論五律的規範與精神，作為擬議七言格律的基礎。第二部分則從五言格律理論推衍出七言的格律規範，包括：「雙拈二」、「上下句第一、三字不可同上去入聲」、「護腰」、「無上尾」等基本規範。除了承自五律的五項格律精神：１、集中於聲調的調節；２、平側律與四聲律並行；３、關鍵位置的析出；４、多平聲優於多側聲；５、全篇音律結構整體性的建立之外，因為七律字數的擴充而形成了「雙拈二」，較之五律更重一句中音律結構的凝聚性與變化性，因此「雙拈二」可謂七律最關鍵的調聲規範。規範既獲初步的擬定，接續便進行＜唐人選唐詩新編＞中七言格律的分析，檢證上述規範與精神的施用情形，在＜又玄集＞、＜才調集＞以及＜御覽詩＞三本選集中，獲致七成至九成不等的合格比例。 最後，在第三部分則經由唐人創作七律之出格與變例情形的剖析，突顯格律規範在歷史中的「常」與「變」，說明格律的特質是在多元變化中化約出規範，又在規範中尋求變化，不同時代的人對於格律的認知便有著漸次遞轉的情形。

　　　　　This essay explores the patterns of Tang's Hepta-syllabic Regulated poetry and their related issues by analyzing two books "Tang-ren-shi-ge" (唐人詩格) and Tang-ren-xuan-Tang-shi (唐人選唐詩 ). The first part iscusses the rules and principles of Five-syllabic Regulated poetry as a backdrop for understanding the patterns of heptasyllabic poetry. The second part examines some of Five-syllabic Regulated poetry's rules as the origins of Hepta-syllabic Regulated poetry's patterns. These rules include "Shuang-nian-rh" (highlighting the second and the fourth words in each line of a Hepta-syllabic Regulated poetry), the rule that the first and the third words in the upper line and the lower line should not share the same "shang" "chu" and "ru" tones, "Hu-iao" (the third word of the upper line and the lower line should not use the same "shang","chu" and "ru"), and "Wu-shang-wei" (the rhyming end-word and the non-rhyming end-word should not use the same tones), etc. Hepta-syllabic Regulated poetry shares five principles of the Five-syllabic Regulated poetry from which it originates: first, a focus on tone modulations; second, the "ping-zhe" law and the four-tone law co-exist; third, crucial position are analyzed; fourth, better to have more "ping" tones than more "zhe" tones; and the coherence of musical structure of the whole poetry is established. But beyond these, since Heptasyllabic Regulated poetry has two more words which helps forming the rule of "shuang-nian-rh", Hepta-syllabic Regulated poetry puts more focus than Five-syllabic Regulated poetry on the unity and change of musical structure within each single line. Therefore, "shuang-nian-rh" can be seen as the most fundamental tonal rule for Heptasyllabic Regulated poetry. Having established these rules and principles, we further test them by analyzing the Hepta-syllabic Regulated patterns found in "Tang-ren-xuan-Tang-shi, new edition" to see how they were implemented. Our results show a 70 to 90% accuracy in three anthologies "Iao-xuan-ji","qai-diao-ji", and "yu-lan-shi". The final section points out the regularity and change in the patterned poetry's history by analyzing the deviations and variations of the Tang Dynasty's Heptasyllabic Regulated poetry: we further argues that the nature of the patterned poetry lies in gathering rules from diverse changes and pursuing changes while following the rules, and that the understanding of these patterns has evolved over time.