| 英文摘要 |
This article begins with an examination of the“relational network”of critical concepts, investigating the theoretical implications and historical contexts of the interactive relationships among shi (dynamic force), qi, and ti in pre-Tang theories of calligraphy and literary criticism.
From the perspective of artistic generative theory, which understands artistic creation as a dynamic process, Liu Xie’s discussions of ti and shi in Wenxin diaolong reveal a theoretical framework in which the triadic structure of qi–ti–shi is transmitted from the creative agent into the work. This framework operates across multiple levels, ranging from the“momentum of emotion”(qing zhi shi) to literary genre (wenti) and further to the rhetorical momentum or stylistic force manifested in literary expression.
Although calligraphic theory does not display the same depth of reflection and theoretical articulation concerning creative activity as is found in Liu Xie’s writings, critical texts nonetheless reveal a comparable structure. Within calligraphic criticism, one may likewise observe a progression from the“momentum of intention”(yi zhi shi) to calligraphic style (shuti) and further to the dynamic movement embodied in brushwork and formal traces. This structure similarly implies a theoretical framework in which qi–ti–shi may be transmitted from the creative agent into the work.
Furthermore, influenced by the doctrine of“correspondence between inner and outer”(nei wai xiang fu), this study demonstrates that the critical concept of ti in both literary and calligraphic criticism embodies a theoretical framework of“one body with two aspects.”Through critics’theoretical formulations, the creative agent and the resulting work in literature and calligraphy are analogically conceived as forming an inner–outer correspondence comparable to that of the human body. Guided by the principle of inner–outer correspondence, the artistic agent naturally manifests its inner qualities through literary language or calligraphic form. Conversely, critics may observe literary expression or calligraphic traces in order to discern their correspondence with the artistic agent, thereby offering interpretation and evaluation.
While Liu Xie’s writings had already developed the doctrine of inner–outer correspondence in considerable depth, pre-Tang calligraphic theory only implied an initial theoretical prototype. It was not until the Ming dynasty, with figures such as Xiang Mu, and later the Qing dynasty, with Bao Shi-Chen, that this framework was explicitly articulated. Consequently, the influence of the doctrine of inner–outer correspondence on literary and calligraphic criticism exhibits a chronological disparity.
With regard to the interrelations among the concepts of qi, ti, and shi within their historical contexts, Liu Xie had already regarded shen and qi as critical concepts closely related to the creative agent, employing them to describe the activity of artistic cognition and imaginative thought. In contrast, within pre-Tang calligraphic theory, the corresponding critical concept is primarily yi (intention). The notion of qi associated with shi and ti in early calligraphic discourse remains largely oriented toward the work itself. The use of qi as a concept for describing the activity of the creative agent did not become prevalent until after the Tang dynasty. This distinction constitutes another significant difference between literary criticism and calligraphic theory in the pre-Tang period. |
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