《中華詩苑》（1955.02-1960.05）為戰後台灣發行重要漢詩刊之一，後改名為《中華藝苑》（1960.06-1967.08）。其內容以多元的專欄來吸引不同背景的讀者，亦開設「海外新聲」等專欄供世界各地詩友投稿交流，當中多有來自星馬地區漢詩人投稿。本論文首先簡述《中華詩（藝）苑》之相關人員與專欄結構，並論述該刊開拓海外詩壇之概況。其次試圖從現有文獻與詩刊發表作品中，釐清在詩刊中發表之星馬地區漢詩人生平。最後透過整理、統計，呈現這些漢詩人在詩刊發表之狀況，從發表行為中分析星馬漢詩人之社群活動。 研究中發現星馬地區漢詩社群發表於《中華詩（藝）苑》者，來自新加坡、檳城、吡叻（霹靂）、砂拉越與北婆羅洲（沙巴）等地。除個人閒詠外，更有社群集體發表之專欄或參與他國社群活動之紀錄，更多次在《中華詩（藝）苑》舉辦之詩藝競賽獲得佳績。透過本議題之探討，可知星馬漢詩人藉由《中華詩（藝）苑》的發表平台，與台灣或東亞其他地區漢詩人之互動，以及戰後台灣與新加坡、馬來西亞間的漢詩交流與互動。 Chinese Poetry Court was a crucial Chinese poetry journal in post-war Taiwan and was later renamed Chinese Arts Court. Chinese Arts Court featured multiple columns to attract readers from various backgrounds. Furthermore, Chinese Arts Court had a column titled “New Voices from Overseas” that published the work of poets from multiple countries; numerous poets from Singapore and Malaysia published their work here. In this study, we identified poets in Singapore or Malaysia who published their work in “New Overseas Voice” and described their lives. Finally, we presented statistical information regarding these poets’ publications. We discovered that the poets who published their work in these journals were mostly from Singapore, Penang, Sarawak or North Borneo(Sabah). In addition, some poet groups published their work or participated in group activities in other countries, and even gave excellent performances in poetry competitions held by Chinese Poetry (Arts) Court. Therefore, Chinese poets in Singapore or Malaysia often used this publication to interact with other Chinese poets in Taiwan or elsewhere, thereby facilitating Chinese poetry communication between post-war Taiwan, Singapore, and Malaysia.