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The Qing dynasty represents the most active and intellectually diverse period in the Study of Du Fu’s poems(杜詩學), during which interpretation moved beyond aesthetic admiration to encompass historical consciousness, ethical reflection, and the expressive depth of poetic subjectivity. Within this context, three major figures of the Xingling (性靈) school—Yuan Mei(袁枚), Zhao Yi(趙翼), and Jiang Shiquan(蔣士銓)—shared the belief that poetry arises from authentic inner feeling, yet each developed a distinct perspective on Du Fu’s poetic value. Yuan Mei rejected the rigid moralization of Du Fu in earlier orthodox scholarship and emphasized creative spontaneity. He located the essence of Du Fu’s poetics in the principle of zhuan yi duo shi (轉益多師), learning from the multiplicity of lived experience rather than imitating fixed models. For Yuan Mei, Du Fu served not as a normative authority but as an exemplar of emotional openness and artistic autonomy. Zhao Yi, informed by evidential scholarship, interpreted Du Fu’s work as shi shi (詩史), a poetic historiography that transforms personal suffering into collective memory. He valued Du Fu as a poet who engaged directly with historical crisis and articulated it through language of profound ethical resonance. Jiang Shiquan, in contrast, read Du Fu through a Confucian moral framework. He regarded Du Fu as a loyal and responsible subject who maintained ethical integrity amid dynastic turmoil, and sought to revive Du Fu’s spirit within his own poetic practice. Together, these interpretations demonstrate that the reception of Du Fu during the Qing dynasty was not monolithic but multi-layered, continually reconstituting Du Fu’s meaning in response to shifting cultural and intellectual conditions. The history of Du Fu’s reception is therefore not a closed accumulation of interpretations but an ongoing process in which each era constructs its own Du Fu.