本文旨在梳理1960至1970年代余光中與劉國松在現代詩與現代畫的評論中，與臺港兩地共同主張復返古典，以及回到東方傳統的主張中，辨明不宜以「新古典主義」的概念概括之。透過當時現代派詩畫互文的情境下，討論劉國松與余光中對於現代詩與現代繪畫如何返回古典，並以兼顧現代性的雙重視野，塑造具有抒情傳統特質的現代「詩情」，重新建構了更成熟的現代主義美學。同時，本文更進一步舉證，1960到1970年代的臺港文藝場域中，余光中與劉國松提倡抽象表現主義形式與技法，以「東方的自覺」與「聊寫胸中逸氣」的理念，把中國傳統繪畫與西方現代畫加以融匯，更可清晰理解兩人在現代性的語意情境中，向中國文學、哲學與思想取經的過程，並不是西方「新古典主義」的美學運動。特別在1970年代以後，余光中與劉國松聯袂赴香港中文大學任教，無論在創作、教學與文藝活動推廣上，將此一回返古典的現代主義觀點推廣至香港，成為臺港現代派跨區域傳播的一股重要力量。

This study aims to sort out Guang Jhong-Yu’s and Guo Song-Liu’s comments on modern poetry and art during 1960 to 1970 between Hong Kong and Taiwan, then focus on the concept of “back to eastern tradition” in their reviews that shall not be simplified as “Neoclassicism“. Within the state of intertextuality of Poetry and Paintings in Taiwan and Hong Kong, I will analyze how did Guang Jhong-Yu and Guo Song-Liu find certain ways to return to classic with modern horizons in order to re-establish a maturer Modernist aesthetic with the modern poetics of Chinese Lyrical Tradition. Meanwhile, this study will put the form of Abstract Expressionism that spread by Guang Jhong-Yu and Guo Song-Liu in Hong Kong and Taiwan literature and art field during 1960 to 1970 to proof, then to interpret the idea of “Eastern Consciousness” and “Painting the Fugitive Spirit in My Breast” by bringing Chinese traditional painting and Western modern painting together. Therefore, we can understand more clearly how their works learn from Chinese classical literature and philosophy in modern situation semantics instead of western Neoclassicist movement. Especially in 1970s’ when Guang Jhong-Yu and Guo Song-Liu taught at The Chinese University of Hong Kong, they devoted to spread the modernist aesthetics with “Back to Classic” in Hong Kong, it became an important aesthetic concept on the phenomenon of Inter-regional Communication of modernism between Hong Kong and Taiwan.