After 1979, the translation and reception of Ai Qing’s poems in the French literary field started from the relationship between Chinese and French literature, French scholars have constructed a dual comparative vision of time-space and internal-external dimensions in clarifying the “French cultural influence and national origin ”of Ai Qing’s poems, and they have tried to find a possible way to interpret Ai Qing’s creations between the past and the present, between the other and the self. They are showing a direction of thinking that comprehensively takes into account the development history of Chinese new poetry and stays close to the essence of its poetic art. Chinese contemporary poetry’s effort to integrate Western literary influences and national aesthetic genes is one of the possible paths for its reception in a foreign land. The French literary scene, which is closely related to the birth and development of new Chinese poetry, organized and practiced a series of translation activities focusing on contemporary Chinese poetry after 1979, starting with the translation of Ai Qing’s poems. They have constructed a dual comparative vision of spatial and temporal dimensions in parallel with internal and external dimensions in clarifying the “French cultural influence and national origin” of Ai Qing’s poems, and tried to find a possible way to interpret Ai Qing’s creative works in the context of the past and the present, and of the other and the self. This article mainly focuses on the status of Ai Qing’s French translations after 1979 and the comments on Ai Qing’s poetic art by French academics, in order to explore the effective ways of integrating contemporary Chinese poetry with world literature on the basis of unique aesthetic practices.