In the Ming Dynasty, a great number of poetic schools thrived with diverging claims. And it showed no sign of cease up into the early Qing Dynasty. Adhering to their own opinions, Seven Poets School and Jing-Ling School still continued with the arguments over the issue of poetic composition. Hence, reviewing the arguments between poetic schools descending from the Ming Dynasty has become a significant task for the poetics of the early Qing Dynasty. One of the literary leaders in the early Qing, Zhou Liang-Gong, thus, raised an “Anti-school” theory about the school phenomenon, in which he advocated the concept of “Erecting tens of thousands of five-color banners,” i.e. on the basis of coordination instead of differentiation, to include the style of various schools elastically and eliminate their schools. To reach the goal, a “No name, only content” poem-selecting strategy was proposed to compile a collection of poems, in which the names of the poets were omitted deliberately with a view to presenting their true temperaments in front of the readers. Such a strategy not only blurred the border between different schools but also left them no ground to lay their foundation. Zhou Liang-Gong’s belief that poets should achieve some sort of authority in a specific field, could hence be publicized and further exalted. At the end of the essay, a contrast is further drawn among Zhou Liang Goang’s painting, printing and poetic theories to exemplify that Zhou’s “Anti-School” thought had actually been elevated from the level of poetics to that of theoretical level of art.