本论在日本学者松下忠建构的江户汉诗发展史的框架中，梳理李白诗歌在江户时代的传播情况，探索江户汉诗发展过程中对李白诗文的受容与诠释及其背后的历史文化动因。首先，采取文献目录学的方法，考证并梳理出与李白诗文相关的文献输入日本，被翻刻、改造、被收藏、出版和传播的具体过程，并指出李白诗文集在传播的难点，强调和刻本与选本对李白诗文普及化和本土化的重要性。理清文献传播的脉络后，分别对江户时代汉诗发展的不同阶段进行分段考察，纵向地探索人们接受李白诗文的方式的流变与发展，对前后不同时期之间的异同进行比较，并将之与时代背景相联系找到江户日本接受李白的规律、变化和前因后果，横向地比较同时期的不同案例，发现有关李白的同一文献、文学作品或诗论在中、日两个不同语境下被接受同时具有统一性与多样性。在江户初期的汉诗从学宋诗转向学唐诗，再转向专学盛唐诗的过程中，李白诗文经历了从“扬杜抑李”到“李杜并尊”的转变，受到更多日本诗人的推崇，逐渐奠定其唐诗最高代表的地位，并与日本传统文学以及书画艺术等领域达到交流与融合，使李白作为“风雅”象征的形象和观念在江户初期的各个文艺领域得以定型。江户中期，日本汉诗先后在木门学派和古文辞学派的主导下掀起“诗必盛唐”和“因明学唐”的诗学复古思潮，盛唐诗和“李杜”正式被确立为江户汉诗的最高理想与模范，李白在日本汉诗坛上的地位被推至前所未有的高峰，李白诗文也成为这一时期的不同江户文学领域首要的参考、模拟对象之一。其后的江户后期，在格调、性灵、神韵“三诗说”的激烈诗学斗争中，以修正、改良格调说为主的“新格调派”在诗话、诗论作品中有关李白诗文的讨论在有选择性地继承明、清诗论的同时，还从学习论、创作论的角度对李白诗文的提出新的诠释与创见。十九世纪以后，江户诗论受清代诗论影响走向折衷化，在当时社会混乱、急需“拨乱反正”的背景下，《唐诗正声》在被推举为选本模范。而被高棅视作“唐诗正宗”的李白，以及《唐诗正声》中选录的李白诗，也随之得到了重新评价和定位，进一步扩大了被“经典化”的李白诗的范围。

This research mainly sorts out the historical sequence of the spread of Libai’s literary works in Edo era, and probes into the acceptance and interpretation of Japanese readers under the development of Edo Chinese poetry. It is pointed out that although most editions of the collections of Libai’s literary works published in China’s Ming and Qing Dynasty were brought into Japan, there were still several disadvantages with the reproductions and annotations. In comparison, Japanese block-printed editions and anthologies played an essential role on the popularization and localization of Libai’s literary works. In different periods of Edo era, Japanese readers tend to show both similarities and differences on their ways to interpret Libai’s literature. In early Edo era, Libai started to be prasied highly as the top representatives of Tang poetry along with Dufu, and be recognized as the symbol of the literary pursuits of grace. In middle Edo era, Japanese Chinese poetry was greatly influenced by the Literary Revivalism of Ming dynasty, and poems of Prime Tang were established to be the ideal and greatest model of Chinese poetry. Therefore, Libai’s literarure had become one of the best artistic styles to model for the Japanese poets. Along with the fierce poetics argument in late Edo era, Libai’s literary works were discussed and studied in a deep-going way in many monographs on poetry criticism written by Japanese poetry theorists. In the 19th century, the Edo Chinese poetic circle was strongly inspired by the Qing poetics and gradually compromise with each other to form a poetic diversity which leads to pluralistic ways to comprehend and interpret Libai’s literature. To authorize the legitimate status of Tang poetry, the anthology Tangshi Zhengsheng, which defines Libai as the “Orthodox of Tang potery”, was chosen to be the fine example of poetry anthologies. As a result, Libai’s poems selected in Tangshi Zhengsheng were rerated and canonized.