This study aims to sort out Guang Jhong-Yu's and Guo Song-Liu's comments on modern poetry and art during 1960 to 1970 between Hong Kong and Taiwan, then focus on the concept of "back to eastern tradition" in their reviews that shall not be simplified as "Neoclassicism". Within the state of intertextuality of Poetry and Paintings in Taiwan and Hong Kong, I will analyze how did Guang Jhong-Yu and Guo Song-Liu find certain ways to return to classic with modern horizons in order to re-establish a mature Modernist aesthetic with the modern poetics of Chinese Lyrical Tradition. Meanwhile, this study will put the form of Abstract Expressionism that spread by Guang Jhong-Yu and Guo Song-Liu in Hong Kong and Taiwan literature and art field during 1960 to 1970 to proof, then to interpret the idea of "Eastern Consciousness" and "Painting the Fugitive Spirit in My Breast" by bringing Chinese traditional painting and Western modern painting together. Therefore, we can understand more clearly how their works learn from Chinese classical literature and philosophy in modern situation semantics instead of western Neoclassicist movement. Especially in 1970s' when Guang Jhong-Yu and Guo Song-Liu taught at The Chinese University of Hong Kong, they devoted to spread the modernist aesthetics with "Back to Classic" in Hong Kong, it became an important aesthetic concept on the phenomenon of Inter-regional Communication of modernism between Hong Kong and Taiwan.