本文旨在探論鍾嶸《詩品》之「清」具有何許樣態與定位，相對於成熟論述之明清古典詩學，又存在何許異同甚且啟發。蓋明清古典詩學之「清」，論述重心乃著力避免因明澈輕揚而來之淺弱枯寂；或以「清厚」為詩之極致，或以田園詩人陶潛為「清」之宗範。而《詩品》雖從未刻意論述「清」，亦未曾表露高度評價；全書卻頻繁以「清」論詩，表露對於「清」之理想期待，甚且以陶詩之「清」啟引後世。值得注意者，《詩品》理想之「清」乃異於後世開展，中品陶潛之「清」始近之。是故《詩品》之「清」乃存在復古與開新之雙重面向，復古面向進一步啟引開新風格不致淺弱枯寂。透過《詩品》可見古典詩學「清」之初期樣態與評價，更得進一步廓清《詩品》於「清」之開展定位及獨有價值。

This article aims to explore the interpretation and positioning of the "Qing" in Zhong Rong's "Poetry" for this aesthetic style; and the similarities and differences between this interpretation and positioning compared with later generations, especially the classical poetics of the Ming and Qing Dynasties. The"Qing" of Ming and Qing classical poetics focuses on not only elucidating the clear and light style, but also avoiding the shallow and dullness caused by the clear and light style; it either takes "clear and thick" as the ultimate poetry, or uses the pastoral poet Tao Qian is the patriarch of "Qing". However, although "Shi Pin" never deliberately discussed "Qing", nor did it express a high evaluation; the whole book frequently uses "Qing" to discuss poetry, expressing ideal expectations for "Qing", and even using "Qing" in Tao's poems as inspiration Hereafter. It is worth noting that the ideal "Qing" in "Shipin" is different from the development of later generations, and the "Qing" of Tao Qian in the middle grade is the closest. Therefore, the "Qing" in "Poetry" has the dual aspects of retro and innovation, and the retro aspect further affects the innovative style so that it will not be weak and dull. Through "Poetry", we can see the initial state and evaluation of classical poetics "Qing", and further clarify the development orientation and unique value of "Shipin" in "Qing".