张为的《诗人主客图》将中晚唐诗人分为六类,因其与后世所公认的诗人风格特征不同,而受到诟病。但张为的划分诗人类别也有他的标准,如将《诗人主客图》与后世的分派比较,可看出《主客图》之后的为元和诗人分派也是有其局限性的。分派有其积极的一面,即对共性的强调,但经常忽视了诗人诗歌的多样性。尤其是元和诗人,不但对诗歌个性的追求远远超过宋代及后来的诗派,而且元白、韩孟两大诗派诗风不是截然对立,而是异中有同。 Zhang Wei’s “Poet’s Master and Guest Figure” divides the middle and late Tang poets into six categories, which are criticized because of their different style and style from the later poets. However, Zhang’s classification of poets also has his own standards. If we compare the “poet’s master-guest map” with the later distribution, we can see that the distribution of elements and poets after the “subject-object illustration” also has its limitations. Distribution has its positive side, the emphasis on commonality, but often overlooks the diversity of poets’ poetry. In particular, Yuan and Poets not only pursue the individuality of poetry far beyond the poets in the Song Dynasty and later, but also the poetic style of the two great poetry schools of Yuan and Han dynasties is not diametrically opposite but different in style.