在王昌齡《詩格》中，「身」、「境」二語具有理論樞紐的意義，「身境」論一方面突顯出創作時「身體在場」、「處身於境」的根源性，並由此導出「三境」。另一方面揭示出身體主體經由「境照」產生了「境象」、「境思」是創作主體進入審美觀照的歷程。此外，詩歌的音韻節奏是身心節律的基本圖式，在新體詩試煉成熟的唐代，「身境」同時也呈顯出對於「聲境」的進一步反思。本文嘗試以「身境」作為理論基礎，說明王昌齡《詩格》所具有的開創性，以及由此衍生的詩歌美典的轉化。

The notions of "body" (shen 身) and "situation" (jing 境) are the theoretical axes of Wang Changling's 王昌齡Shi ge 詩格(Poetic Rules). The concept of "body-situation" (shen-jing 身境), on one hand brings to light the nature of "the present body" and "the situated body" as roots of the creative act, and together with shen and jing forms the "three situational spheres" (sanjing 三境). On the other hand it reveals that the body subject's generation of a "situation-image" and "situation-thought" via "situation-perception" (jing zhao 境照) represents the creative subject entering into the process of aesthetic observation. Besides this, the rhythm and rhyme of poetry is a fundamental schema for the rhythmic patterns of mind and body; when New Poetry (xinti shi 新體詩) matured during the Tang dynasty, body-situation also emerged as a further rethinking of another concept, "sound-situation" (sheng-jing 聲境). Using body-situation as its theoretical basis, this essay attempts to explain how Wang's Shi Ge was innovative, and the transformation of the poetic canon to which it led.