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唐代诗僧皎然认为陈子昂的诗歌“复多而变少”。如若其然，则子昂何以成为有唐一代诗风的开创者？若无新变，则不能代雄。陈子昂的诗歌理论推陈出新，提出“骨气端翔，音情顿挫，光英朗练，有金石声”这样富有新的时代特色的审美理想，并将唐代诗歌的审美品位标定在一个崭新的高度。唯其如此，才有嗣后盛唐诗歌创作“文质半取，风骚两块。言气骨则建安为传，论宫商则太康不逮”的特征。他的诗歌创作，无论是古体还是律体，无论是思想内容还是风格声律，都能在继承的基础上颇多创新。这可谓由“复”求“变”，“变”中有“复”。盛唐诗歌之所以能“变汉魏之古体为唐体，而能复其高雅；变六朝之绮丽为浑成，而能复其挺秀”，陈子昂功不可没。
Poetry monk Jiao Ran of Tang Dynasty thinks that Chen Zi’ang’s poetry “is more and less.” Ruoyizhe Ran, Zi-an why there is a poetic pioneer of the Tang generation? If nothing new, you can not substitute for male. Chen Zi’ang’s poetry theory has been put forth to new ideas and put forward the esthetic ideals full of new characteristics of the times, such as “Guochenxian, frustrated music, light and refined, and precious stone”, and set the aesthetic taste of Tang poetry to a new height. Only in this way, there are subsequent poems of the Tang Dynasty, “the text half-take, coquettish two .But the rhetoric is Jiananzhuan, on the palace business is too unattainable” feature. His poetry creation, no matter archaic or law, no matter ideological content or style of acoustics, can make a lot of innovations on the basis of inheritance. This can be described as “complex” seeking “change”, “change” in the “complex.” The reason why the poetry of the prosperous Tang "can change the ancient body of the Han Dynasty and the Wei as a body of Tang Dynasty can recapture the elegance;