「抒情」素為中國詩學∕美學的核心思維；其不惟作為文藝手法，甚而主導文人書畫音樂等藝術型態，而成為中國文化脈絡的主流傳統。此說已經陳世驤、高友工等學者討論。承此論述，本文擬由反思的角度，切入抒情傳統在近現代的轉折問題。近代自天主教東傳以來，歐洲文藝復興的「寫實」表象美學，改變了漢文人長久以來「抒情」的感思模式，進而影響了藝術的審美品味、文學的修辭風格與文化的意識形態。如本文所聚焦探討的明清之際文人畫家吳歷，其所面對的跨文化美學課題是—如何在心源（source of mind）∕造化（world of creation）之間，創作藝術的世界、轉譯神的蹤跡？又如何在抒情寫意∕表象寫實之間，重新詮釋中國文脈的「天人之際」？其生命及藝術，置於普世多元文化匯流之初，實可透視漢文化傳統的現代性轉向。

The aim of this paper is to scrutinize the intercultural-aesthetic turn of lyric 抒情 tradition as a creative model of making poetry, a leading artistic style of calligraphy, painting and music in Chinese literati culture. In the past three decades, the conception of a lyric tradition and its historical lineage within Chinese literature have been widely contested among scholars and researchers, especially in the publications of Yu-Kung Kao 高友工, Shih-hsiang Chen 陳世驤, and Ching-ming Ko 柯慶明. Instead of becoming involved in the controversy over this concept, this paper intends to make a philosophical reflection on the aesthetic turn of lyric tradition considering the impact of encountering Western thought when the first Catholic missionaries arrived in early modern China. This paper will firstly investigate how modern Western realist representation and aesthetics have challenged the aesthetic model of lyrical thinking, to the extent of which the appreciation of art, rhetoric of literary writing, and even cultural ideology have undergone reform. Secondly, this paper discusses new issues of intercultural aesthetics, focusing on the artistic achievement of Wu Li 吳歷 (1632-1718), a Chinese Christian landscape painter, poet, and calligrapher active in the late Ming and early Qing, to understand how this Christian-literatus poet propagated the revelation of God by creating artworks from within the encountering of an inner or invisible “source of mind” 心源and an outer or visible “world of creation” 造化. Furthermore, this paper explores how Wu reinterpreted the Confucian notion of “the relation between human and nature” 天人之際 by contrasting lyrical suggestion and realist representation. In short, this paper concludes that the reading of both the life and the artworks of Wu Li within the context of a multicultural society is one method to grasp the modern turn of Chinese cultural tradition in the early modern period.