In the trend of returning to the ancients in the Yuan Dynasty, Tang poetry became a common target for Yuan poets to learn from. Li Dongyang once pointed out in his evaluation of Yuan poetry that "Yuan poetry is shallow, but it is close to Tang." In the context of the Tang dynasty, Li Bai and Du Fu were elected as outstanding representatives of pre Yuan poets. Liu Shenwen criticized the shortcomings of the poetry world at that time, believing that the entire poetry world lacked creativity due to the inheritance of Li and Du's works. Liu Shen's criticism precisely illustrates the Yuan people's admiration for Li Du. The issue of the Yuan people's reverence for Du has always been emphasized by scholars, while there are few scholars who discuss the acceptance and evaluation of Li Bai by the Yuan people. This article explores it from three aspects. The poets of the Yuan Dynasty believed that Li Bai had a bold and unrestrained personality. When Fang Hui evaluated Li Bai in his poem "Ying Kui Lv Sui", he used the word "unruly" to evaluate his character and talent: "Tai Bai possesses unruly talents, with great works in the music world that are constantly changing." In his long poem "Recently, the two scholars of the Huan Zhai and the Huan Zhai repeatedly sang in five words to reward him for his ignorance and mediocrity. Every completed chapter also showcases appreciation, admiration, and praise for Li Bai and his poetry." The poem praised Li Bai and his works from the sixth chapter to July of the fourth year of the Yuan Dynasty, The opening four sentences of "Tai Bai is bold and unrestrained, not bound by righteousness and reason. When reciting poetry and thinking about him, the flying dragon is called Tianqu" are the overall evaluation of Li Bai's bold and unrestrained personality. Zhou Zigu's Titles on Taibai Tavern shows Li Bai's unfettered image by means of metaphor: "The divine dragon is unfettered, but it can get rid of ten thousand riding shoes." Zhang Yu used the word "feign madness" in his poem Spring Wine to describe Li Bai's freewheeling and unrestrained character. In Qu Zhi's "Harmony with Xi Zhong Yun", he used the phrase "Qing Kuang" to describe Li Bai: "No wonder Qing Kuang is like a banished immortal, enjoying the cool far beyond the Jade Mountain. Li Bai is not only unrestrained, but also detached from the mundane world. In his poem Li Taibai Tavern, Zhao Mengfu thought that Li Bai was handsome, free and easy, and distinguished himself from the common people: "He Junyi, the exiled immortal, came here in the past." Hu Zhixuan, in his poem titled The Painting of Six Cranes Again, thought that Li Bai was beyond the common people, and those mediocre painters did not understand Li Bai's unconstrained character, Describing his drunken image as "Tu Gu Er" who is "drunk": "Chang Guanyong's pen portrays Li Taibai, with a mundane appearance and dignified eyebrows. It's like being drunk and full of Tu Gu Er." Liu Xun had the same understanding, He wrote a poem titled "The Statue of Li Hanlin": "The color of a robe is jade, and he wanders from all directions. He is truly a person of Kunlang and Pengying. The falling moon shines on the beam, and sincerity is not empty language. When he is drunk, he looks arrogant and contemptuous of all things, as if he were sprinkled with gold and ink. When a powerful man takes off his boots, his appearance is also impressive." The poem believes that Li Bai is an "immortal" rather than a mortal, so he can have a "arrogant and contemptuous attitude towards all things. Zhang Yu's "Taibai Statue" also believed that Li Bai was an unattainable "dragon traveler" rather than an ordinary person: "With a green robe and a green jade staff, one can see on a nine fold screen. Pian like a dragon that cannot be climbed, it is already in the moonlight of Mount Emei." Due to this understanding, in Yuan poetry, "banished immortals" were often used to refer to Li Bai, such as "a river full of wind and moon wine, and there is no banished immortal in the world who can be with him