New Poetry in China Thought under the Reflection of Classical Aesthetics: Centered on "Neutralization"

Abstract

Classical aesthetics, rooted in Chinese culture, has been highly involved, nurtured and supplemented with poetry and literature creation and theoretical criticism for a long time. Since the beginning of the 20th century, Chinese new poetry has been influenced by the modern poetic paradigm and cultural value system in Europe and the United States. It has been westernized for several times, and has repeatedly lowered the weight of the root of Oriental traditional art. Until the 1970s, with the "enlightenment opportunity" of Li Zehou's so-called aesthetics, and the "New Poetry Tide" and "the third generation" in the field of poetry, several groups of poets and theorists with the characteristics of geo cultural awareness, textual research and border extension of classical spirit, inheritance and decoding of historical information rose one after another. Under the care of the classical aesthetic thought of "Neutralization", they almost shouldered the responsibility of connecting traditional Chinese poetry and new poetry, and continued to innovate and explore. Elucidating this process and phenomenon may have a certain "filler" value for mutual learning and discussion in the field of classical aesthetics and contemporary poetics.

根植于中国文化的古典美学，长期与诗歌文学创作及理论批评存在高度互涉、熏陶和补充的关系。自20世纪初汉语新诗发轫，膺受欧美近现代诗学范式及文化价值体系影响，几度产生西化潮流，而一再放低东方传统艺术根脉的权重。直至20世纪70年代后，伴随李泽厚所谓美学的“启蒙契机到来”，诗歌领域“新诗潮”、“第三代”等运动陆续兴盛，几批具备地缘文化意识、古典精神考据与拓边、历史信息继承与解码特征的诗人与理论家相继崛起，在以“中和”为主的古典美学思想观照之下，几乎肩负起了通联传统汉诗与新诗的时代责任，并持续创新探索。阐析这一历程与现象，对于古典美学与当代诗学研究领域的互鉴和筹议，或将具备一定的“补白”价值。 Accepted 26 March 2026 Published 31 March 2026