若從胡應麟、葉盛、陳田、沈德潛等人對於元末明初詩學流派的看法，可歸納出元末明初重要的詩學流派有：浙(越)、吳、粵(南園五子)、閩、嶺南、會稽二肅、崇安二藍等等，主要包含「浙東」、「蘇州」、「江西」、「閩中」四大地域詩系。由此發現元末明初是地域詩學的時代，甚至影響整個明代的詩學發展。
如果，我們針對元末明初各地域詩學流派進行細緻的分析與觀察，會發現他們奠定了明代「復古」的概念，這個複雜的詩學詞彙，若要細緻的分析，便可以從元末明初各詩學流派對於《詩經》的詩學詮釋，去觀察各流派對於回歸《詩三百》，這個共有觀念下詩學內涵的歧異處，便可以發現各地域詩學在復古觀念下產生了不同的思維內涵。
本文便透過元末明初四大流派對於《詩經》的詩學詮釋，提出分析與探討，希望能夠觀察元末明初四大地域詩學，在回歸《詩三百》後，所呈現的不同說法與理論，以藉此補足明代詩學中較少學者論及的區塊。

The important Late Yuan and Early Ming poetic schools, which had been studied by scholars like HU Yin-Ling, YE Sheng and SHEN De-Qian, can be geographically categorized into four major regional systems: Eastern Zhejiang, Suzhou, Jiangxi and Central Fujian. It can be consequently considered that, during this period, the regional poetics took the lead in the development of poetic theory of the entire Ming Dynasty.
If we pay attention to these regional systems, we may find out that they laid conceptual foundations for the “Revivalism” (fugu) of Ming Dynasty. This complicated term can be understood by studying each of their different poetic interpretations of Shijing (Book of Songs). Despite that they all placed emphasis on the reviving of classics, what they meant were conceptually different.
This paper focuses on the poetic interpretations of Shijing of the four regional systems, and wishes to fill the vacancy of academic research on the Ming Dynasty poetics by clarifying their different theories under the same term of “Rivivalism.”