本文通過對范仲淹「韓愈觀」、「頌聲來復」觀念的研究，並以之聯繫景祐至慶曆年間「正禮樂」、「崇學校」的關聯事件，以說明范仲淹文學理想和「太學體」形成的思想淵源。本文指出：一．范仲淹雖然肯定韓愈的古道和古文，但沒有把「更革文體」與慶曆政治革新的目標相聯繫。原因是范仲淹認為「大雅」、「頌聲」才是文章關乎風化的關鍵，因此對文體的改革並不十分重視。二．范仲淹舉薦胡瑗典正雅樂，又推薦胡瑗、孫復執掌太學以彰「禮樂之風」，是因為這些雅樂禮文都象徵了代表「虞夏之純」的治世之音，符合其「皇朝龍興，宜建大雅」的文學理想。三．太學體所以能夠在慶曆年間產生足以扭轉一代文風的巨大影響力，正是由於范仲淹「頌聲為尚」的觀念，為太學體推崇「典謨」之文提供了理論的平台，加上行政命令的干預，因而直接促成了太學體的興起。 This paper illustrates literary pursuits of Fan Zhongyan as well as the origins of the formation of taixue style. It aims to demonstrate three main ideas. First, despite the fact that Fan Zhongyan supported Han Yu's ideas on gudao (classical way) and guwcn (classical writings), he never considered that "innovation of literary style" goes hand in hand with the objective of political reformation that took place during the Qingli period. The reason is that Fan reckoned that "elegance" and "voice of praise" are the key factors of literary works functions as advocating morals and manners; thus he did not pay too much attention to innovation of literary style. Secondly, Fan recommended Hu Yuan to keep and rectify rites and music, as well as appointed Hu Yuan and Sun Fu to be in charge of the Imperial Academy in order to manifest "practice of rites and music." He did so because this ceremonial music and institution of rites symbolized the voice of a peaceful period which represented "the model writing style found in the period of Three Sovereigns," and conformed with his pursuit of the literary ideal that "as the Song dynasty is flourishing, it is suitable to establish institutions of rites and music." Finally, due to the fact that Fan's concept of "upholding the voice of praise" provided a theoretical basis for taixue style to advocate writings with "purely elegant and proper styles," along with the addition of interference in administrative commands during the Qingli period, taixue style rose spontaneously. This explains why taixue style had an enormous influence upon the reversion to writing style during the Qingli period.