２０世纪八九十年代是我国少数民族女性诗歌创作特别活跃的时期，由于生态环境的差异，虽然她们的汉语诗歌创作都被“汉化”，但因汉化的程度各异，出现了纯粹的、富有民族品质的、含有民族气质的和完全被汉化的四类少数民族女诗人，并形成各具特色的四大抒情范式。随着年代的推移，形成了汉化的程度由“浅”到“深”的抒情趋向，即少数民族女诗人的抒情从８０年代向９０年代的转变过程中出现了民族性的“轻化”、民族色彩的“淡化”现象。 Since the 1980s and the 1990s, the minority women’s poetry in our country has been particularly active. Due to the differences in ecological environment, although their Chinese poetry has been “finished”, due to the different degrees of localization, pure and rich National quality, ethnic temperament and fully Han nationality of the four types of female poet, and the formation of the four distinctive lyric paradigm. With the passage of time, the lyrical tendency of the degree of Chineseization from “light” to “deep” was formed. That is to say, the lyricism of ethnic female poets appeared the national “lightness” in the transition from the 1980s to the 1990s. The “Desalination” Phenomenon of National Color.