自洪武以後，隨著崇唐心理的構建，詩壇上崇唐的審美取向，唯唐獨尊的藝術標準迅速成型，由對唐的獨尊而至對宋詩的否定，在明代復古詩論中出現了宋詩遭冷遇，而由明直接繼唐的歷史腫尬。然而在「宋無詩」論雄據詩壇的同時，亦發生了懷疑這理論的思潮，這個思潮不但發生在「宋無詩」論的大本營「復古詩派」當中，亦發生在社會上、民間裡。因此，在洪武以後，明代詩壇就經常聽到或明或暗的對宋詩的呼喚，乃至爭論。這個呼喚與爭論貫穿著洪武以後明代的整個詩壇，劃出了一道明代詩歌及詩歌理論發展變化的鮮明軌迹，有力地推動了明代的詩歌創作，更給明以後詩壇提供了十分有益的啓示。

Since the time of Hongwu, with the construction of the idea of Chongtang (Advocating the Tang Dynasty), the aesthetic orientation and artistic standard of Chongtang in the poetry circle, were formed rapidly, from the exclusive respect of Tang to the total negation of Song poetry, in the history of the development of poetry there's an age-breaking awkwardness. However, while the theory of “Song Wu Shi” has occupied the poetry circle, there is also a trend of reflection on this theory. This trend has not only occurred in the school of Ming Neo-classicism, but also in society. Therefore, after Hongwu, the demands and controversies of Song poetry were often heard in Ming’s poetry circle, and even runs through the entire poetry circle afterwards. It draws a clear trajectory of the development and changes of Ming poetry and the poetic theory, which has pushed forward the poetry creation of Ming Dynasty, and provides a very valuable inspiration to the poetic world.