明代正德、嘉靖之際，宗唐成為其時詩界具有較為廣泛基礎的一種詩學認知，呈現承傳與演化相交織的發展態勢。諸家在審觀古典詩歌系統的基礎上，往往以宋元詩歌尤其是宋詩為參照對象，表達以唐為尚的詩學訴求，又基於以有唐乃至盛唐相標格的立場，聲張六朝、初唐詩風的文學意義，顯示對李、何諸子詩學宗尚路線的一種自我調整。然在根本上，這種調整未超離明初以來成為詩學主流、尤為李、何諸子所強化的尊尚唐音的基本方向。同時，檢討此際詩壇仍處於上位的宗唐之詩學觀念，需注意昭彰其中的特定審美取向以及相對複雜的性質，而注重唐詩典範意義並強調詩歌審美特性及藝術經營，則成為顯於此際詩學觀念中的一種重要流向。

Between the Ming Dynasty Zhengde and Jiajing, respect Tang poetry was a cognitive and wide basis in that poetry, presented the inheritance and evolution interactive trend. Above the foundation of view in the classical poetry system, usually the object of reference was Song and Yuan Dynasties Poetry, especially Song poetry, which expressed the appeal of respect of Tang poetics and was based on the worship of Tang to Tang thriving phase. Promotion the literary significance of the Six Dynasties and the beginning of Tang Dynasty poetry displayed an orientation orientation；adjustment of respect Li, He and other poets. But fundamentally, such adjustment was not out of the poetics trend since the beginning of the Ming Dynasty, especially the basic direction of Li, He and other poets intensifying and advocating Tang Poetry. At the same time, the inspection of review about respect Tang Poetry which was still the main trend in that poetics phase, needed to pay attention to the clear of specific aesthetic orientation and its relatively complex characters, and focus on the model significance and characteristic of Tang poetry element with aesthetic and arts, had become an important direction in the meantime poetics.