【摘要】 纵观中国文学与文论的现代化历程，“写什么”“怎么写”以及“写得怎么样”等基本问题贯穿其中。具体又可分两个阶段：20世纪80年代前以回应“写什么”为主，偏于“重人”,以先后提出的“人的文学”“文学是人学”等口号为标志；而后转向重点回应“怎么写”,偏于“重文”,从掀起“文学性”“审美性”研究潮流可见一斑。这个“文”尽管属于“纯文学”话语以及形式主义批评下的“文学性”,但已被赋予中国“文性”文化的底蕴和力量。返观中国传统，历代文论遵循的原理是：“文”凭“艺”而行、“艺”因巧而“妙”。可以说，“人”“艺”“妙”正好能够回应现代文论中“写什么”“怎么写”“写得怎么样”三个重要问题。从“文心艺理”这一文论传统看，“用心为文”表现为“为文者”之“巧艺”经营，“会心观文”则表现为“观文者”之“妙感”审美。从“文学性”眼界打开思路，可见中国文论建设至少有“传情”“叙事”“寓理”三个面向，恰好对应于叶燮总结的“理事情”文学三元素。中国文论建设应继续放眼于“道”“艺”融合、“人”“文”化合的“文性”境界。这种“文性”境界兼通“人性”而又以“艺性”为命脉，既超越了中国传统“文以载道”的束缚，又突破了西方只注重文本内部的“文学性”之局限。更多还原

【Abstract】 Throughout the modernization of Chinese literature and literary theory, fundamental questions— “what to write”, “how to write” and “how well it is written”—have remained a constant thread. This trajectory can be divided into two stages: before the 1980s, the focus was primarily on “what to write”, emphasizing humanity, as reflected in slogans such as “humanistic literature” and “literature is humanity”; afterward, attention shifted toward “how to write”, giving rise to a significant research trend that prioritized literature itself and its aesthetic dimensions. Although this turn aligns with discourses of “pure literature” and formalist criticism, it has already been infused with China’s traditional literary culture. Looking back at the Chinese tradition, the guiding principle followed by literary theorists across the ages holds that the “literary” is realized through “artistry”, and “artistry” achieves subtlety through ingenuity—precisely echoing the three core concerns of modern literary theory: “what to write”, “how to write”, and “how well it is written”.From the perspective of the literary mind(wenxin) and artistic method, the act of writing manifests as the writer’s ingenious craftsmanship, while the appreciation of literary works evokes the reader’s profound aesthetic experience. Guided by this literary perspective, the construction of Chinese literary theory encompasses at least three interrelated dimensions: expressing emotion, narrating events, and conveying principles—corresponding directly to Ye Xie’s triadic framework of Li-Shi-Qing(Principle, Event, Emotion). The future development of Chinese literary theory should sustain a literary realm that integrates Dao(the Way) and Yi(artistry), synthesizing humanity and literature. In doing so, it can not only transcend the traditional constraints of “writing to convey the Dao”(wenyi zaidao), but also move beyond the limitations of Western theories of literariness that focus exclusively on the internal features of the text.更多还原