詞作為中國古代文學中重要的文體之一，有其獨特的生成、發展的規律，而就在其創作和理論發展的歷史進程中，也形成了既與其他文學樣式有著千絲萬縷的聯繫，又有其「本色當行」的獨特概念和範疇，正是這些日漸明晰的概念和範疇的規定，形成了詞的體性特點、創作規律、藝術風格等一系列使詞成其為詞的獨特性，也確立了詞與其他文學體裁之間的畛域和聯繫。因此，梳理「詞體」的內涵，有助於釐清詞學發展的脈絡。具體來說，清代各詞派的詞體觀是不斷有所變化、轉移的。本文即從發展嬗變、承繼創新的視角考察清人的詞體觀，同時對清代詞壇四大流派詞體觀的發展與嬗變做出總體評斷，筆者試圖揭示清人對詞之「辨體」與「破體」二者消長互補的爭論的發展過程，如何異流同歸於「尊體」。

Being one of the important styles of ancient Chinese literature, Tsu was featured by the unique regularity of creation and development. Similar to other literature styles, during its historical development of creation and theory, Tsu had been significantly tangled with other literatures, while maintaining its special and clear literature concept and scope, which characterized itself by the essence, the creation regularity and artistic style, leading to Tsu’s uniqueness, scope and connection with others. Therefore, it would help clarify the originality of Tsu’s development by exploring the essence of Tsu style. This article intends to historically investigate the development of Ching Tsu, and conduct an overall evaluation on the four major literature styles of Tsu. Concretely, all of the literature styles of Tsu in Ching dynasty constantly changed and transformed. The purpose of this study is to reveal the tangling facts and historical development of the original style and adopted style in order to discover the transformation of Ching Tsu from the dynamic, historical and developing perspective. It is expected that, by examining different insights from the four major schools about Tsu, the final momentum toward the promotion of Tsu in Ching dynasty can be disclosed.