明代中葉以後的詩學史上，出現了一種「嚴羽劉辰翁詩論並稱」的觀點。這種觀點，主要屬於復古派的建構，也透露其所承受的詩學傳統，然而尚未引起當代學者的關注。本文即針對此說的詩學基礎、背景和意義，進行系統化之考察。研究成果顯示：明人提出嚴、劉並稱之說，應是注意到兩人詩論的質性及其價值甚近似。據嚴、劉詩學原典推敲，兩人都認為詩的審美特質，乃是一種辯證超越於語言形式以外的美感，如嚴羽（1195？-1245？）所謂「興趣」，劉辰翁（1232-1297）所謂「不著一字」、「不著相」云云。這可視為兩人並稱之說的基礎。而此說之提出，當是明人緣於自身既有的某種審美觀念，由回溯詩學史而發現契合於嚴、劉，遂能照見其價值。明人觀念係延續了元代以降的詩法類著作，甚至據以作為理解、評價嚴羽詩論的「前理解」。而在此說之成型過程中，高棅（1350-1423）、李東陽（1447-1516）可能扮演了重要推手，也必須留意「傳統評價延續性」、「論述形式互補性」二因素。這可視為兩人並稱之說的背景。立足前述的研究成果，本文最後指出明人此說的兩項重要意義：一是透露明人對嚴、劉所體現的詩學史轉向已有清楚之掌握；其次是顯示宋末元初以迄明代復古派的詩學史，可視為一個連續性整體。

In Ming dynasty documents, we find passages written by authors with ties to the revivalist movement that juxtapose Yan Yu (1195?-1245?) and Liu Chen-weng (1232-1297). These juxtapositions are comparative in nature, and they show that the revivalist’s view of the poetic tradition was complex and concerned with more than just Yan’s standing and influence. This study discusses the basis, background, and significance of texts that juxtapose Yan and Liu for comparative purposes. It finds that both Yan and Liu maintained that a good poem must manifest aesthetic beauty beyond any form of language. The origin of the Yan-Liu comparison can be found in Gao Bing’s 高棅 (1350-1423) interpretation of the Tangshi pinhui 唐詩品彙. Moreover, the revivalist’s use of Yuan dynasty perspectives to interpret Yan Yu’s poetic theory constitutes the primary background for understanding the Yan-Liu comparisons. The revivalist's view of poetic history held that Yan and Liu had moved poetry in a new direction and opened a new phase of poetic style in China.