十九、二十世紀之交，正是東亞文化急遽變化的時刻。中國、日本先後遭受西方列強的叩關而放棄長期實施的鎖國政策，並開始向西方學習現代文化與規制。中國自強運動、日本明治維新就是這種時代氛圍下的產物。本文以洪繻的《寄鶴齋詩話》為研究中心，探求洪繻心中對於漢文化「正統」的想像，以及面對時代變局之論述。在其《寄鶴齋詩話》中透過對各時期作家的作品進行評述，建構出一個經典文化系譜。從周代到晚清，書中評述的標準都以經典文化為依歸，並認為歷代文學皆祖述《詩經》，最後形成一個「正統」的經典文化系譜。但面對文化之「變」，洪繻不由得在「變風」、「變雅」的評述外，另有思「辨」。他首重「中／外」的區隔，強調在學習新學之餘，要謹守中外之分際。其次，洪繻也強調「亞／歐」的區別，因此對於經歷幕末的日本漢詩人產生共鳴，這都是由於洪繻自身藉此展現對經典文化的認同與時代變局的思辨。

The period spanning from the late 19th to the early 20th century saw drastic changes in East Asian cultures. The Chinese Qing dynasty and Japan were forced to abandon their long-existing isolationism under the demands of powerful Western countries. Subsequently, the two countries began to learn about systems and regulations in modern Western cultures. This atmosphere of learning led to the Self-Strengthening Movement in China during the late Qing dynasty and the Meiji Restoration in Japan. This study investigated the Jihezhai Shihua by Hong Xu to explore how Hong depicted cultural classics and discussed the changes between the time periods. In Jihezhai Shihua, Hong evaluated works from writers across dynasties to construct a chronicled tree system of cultural classics. His comments on works from the Chou dynasty to the late Qing dynasty were based on the criteria of cultural classics. In response to the cultural changes that occurred over time, Hong presented his discourses. He prioritized segregating Chinese cultures from Western cultures, favoring showing restraint toward Western cultures; rather the focus must be learning new knowledge. He thought that the differences between Chinese and Western cultures must be noted and maintained. Moreover, Hong restated the distinction between Asia and Europe. Thus, he identified himself with the classical Chinese poetry created by Japanese poets during the late Tokugawa shogunate, in turn showcasing his identification with the cultural classics.