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作为金代文坛陶渊明接受的艺术范本,赵秉文“和陶诗”将陶渊明的人格精神与诗歌艺术结合起来,即在主体人格的塑造上、意象的选取上以及诗境的经营上,取法于陶渊明,有时甚至颇得陶诗风韵。但由于赵氏人格、境遇与陶氏迥异,这种复制难以达到陶诗的真正境界,具体就是诗歌境界上与陶诗有高下之别,以及赵氏“将大臣经营国事之心曲”写进诗歌之中,与陶氏自然自由的审美追求迥异。但值得注意的是,赵氏“和陶诗”自有其创新性,无论诗旨上的儒、道、释兼融,还是诗风上的刚健与平易,都显示了赵氏的自我风貌。并且,这是金源文坛之陶渊明接受的一种普遍意义的方式。金源诗坛这种师法陶渊明等前代优秀诗家的结果,是给汉唐以来渐趋典雅精微的中国古代诗歌艺术带来了“有偏斜度的超越”。
As a model art accepted by Tao Yuanming in the Jin Dynasty, Zhao Bingwen and Tao Tao combined Tao Yuanming’s personality and poetry art, Tao Yuanming, sometimes quite poetic charm. However, because Zhao’s personality and situation are different from those of Dow, this copy can hardly reach the real state of Tao’s poetry. Specifically, he is different from Tao’s Poetry in poetry realm and Zhao’s “ Into the poetry, and the natural beauty of Dow’s aesthetic pursuit of different. However, it is noteworthy that Zhao’s poem and poem Tao have their own innovativeness. Regardless of the poetic purpose of Confucianism, Taoism and Buddhism, they are also the embodiment of Zhao’s self-esteem . And this is a universal way accepted by the Taoist sources of the Jinyuan literary world. The poet Tan Yuanming, a famous poet of the Golden Resources Poetry, as a result of the outstanding poets such as the predecessors, brought ”a skewed transcendence" to the art of ancient Chinese poetry, which has been gradually refined and refined since the Han and Tang dynasties.