不少理论家认为，后现代主义正不断以游戏的方式使用着西方的传统文化资源，并将其视为解除历史深度威胁的有效符码，其结果不仅使现代主义的前卫艺术失去了惊世骇俗的力量，同时也以玩世不恭的态度否定了经典美学的崇高感。本文不完全同意这种见解，并试从跨文化立场寻找新的阐释思路。通过以中国经典的诗学传统与后现代美学原则的对话和比较，从而有理由认为，后现代主义对前卫艺术和经典美学的双重否定，只是针对西方主流文化艺术传统的反叛，而当后现代的文化钟摆游荡出西方近代理性思维的囚笼之时，它可能在无意中却接近了东方中国的某些诗学观念和美学精神。论文进一步从主体的消解、意义的模糊化和生活的美学化三个方面展开论述 Many theorists argue that postmodernism is constantly using the traditional Western cultural resources as a game and treating it as an effective code for lifting the depth of history. As a result, not only has the avant-garde art of modernism lost its horror Strength, but also denied the sublime of classical aesthetics with cynicism. This article does not fully agree with this view, and try to find a new interpretation of ideas from the cross-cultural position. Through the dialogues and comparisons between the classic Chinese poetic tradition and the postmodernist aesthetic principles, it is reasonable to think that postmodernism’s double negation of the avant-garde art and classic aesthetics merely aims at the rebellion against the mainstream Western culture and art tradition, When it clings to the cage of modern Western rational thinking, it may inadvertently approach certain poetical concepts and aesthetics of the East China. The dissertation further elaborates from three aspects: the main body digestion, the obscure meaning and the life aesthetics