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由于钱谦益以及钱穆两位学者对于刘基入明后诗歌成就评价不高的缘故,对于刘基文学研究中其入明后诗风及诗学思想的研究向来缺乏足够重视。刘基入明后诗歌创作占其诗歌总数六成以上,这些诗歌所体现出来的主导风格并非其元末诗歌所表现出的雄奇苍深之诗风所能够概括,而是体现为一种鲜明的婉丽风格。这种风格是在刘基入明后创作心态转变及明初特殊的诗坛风气双重作用下酝酿而成的,较其入明前的作品,这一时期的诗作失却了元季对社会关注之广度,而凸显出对生命思考之深度。
As Qian Qianyi and Qian Mu scholars pay little attention to the achievements of Liu Ji into the poetry after the Ming Dynasty, the research on Liu Ji’s literary studies into his poetic style and his poetic thinking has always been lack of enough attention. After Liu Ji into the Ming Dynasty, poetry accounts for more than 60% of the total number of poems. The dominant style embodied in these poems can not be generalized by the poetic style of the magnificent Cang Shen shown in the poetry at the end of Yuan Dynasty, but embodied as a sharp The Wanli style. This style is brewing under the dual mentality of creating mentality after Liu Ji into the Ming Dynasty and the special poetic style of the early Ming Dynasty. Compared with the works written before his death, the poems of this period have lost the breadth of social concern of the Yuan Dynasty , But highlights the depth of thinking about life.