The tradition of classical Chinese poem is lyrical. “Fusion between Emotion and Scene” is a classical tactic of this lyric tradition. The paragraphs which described scene in poem were usually designed and regarded from lining with the feeling. Xie LinYun in the Jin to song Dynasty was the first one who composed poetry with the subjects of landscapes. But most of the scenery in his poetry was so unemotional that feeling and scene were discrete and there were just few connections between them. This study analyses poem examples in details in order to present the differences between Xie LinYun’s landscape poetry and traditional lyric. Those differences indicted that Xie diverged from the track of traditional lyric. The primary reason causing the diverging was that Xie’s composing tactic was been given birth by “the poetry system of XuanYan” in Jin Dynasty instead of lyrical tradition which come along from ShiJing. There are four raptures can prove that Xie’s landscape poetry inherited from “the poem system of XuanYan”. However, at the same era as Xie, why was Tau YuanMing close to the lyrical tradition instead of “the poetry system of XuanYan”? The “Reception theory” introduced by Hans Robert Jauss can explain this contradiction. Besides, this study also controverts an accepted opinion in the history of Chinese literature that Tau should belong to “the poem system of ZhengShi” and Xie should belong to “the poem system of TaiKang”.