本文試圖重新詮釋漢至六朝書論和文論中的「勢」論，將劉勰批評思想中的「勢」觀與唐前書論中的「勢」論相互比較，著重思考在書論與文學批評活動中，「勢」如何被「感知」？書評家和文評家在其批評活動中對「勢」感知的側重，如何受書法與文學現象各自的藝術屬性影響而對其批評觀發揮作用。同時在書論和文論「勢」論之比較中，進而突顯「勢差」、「勢位」如何構成書法和文學「勢」的感知之理論基礎，思考其可以適應於不同藝術「勢」論之內在理路。希望透過此研究，可以重新掘發「勢」論的理論內蘊，並能更周全地讓書法和文學之間「勢」論的異同比較，得到更詳盡的觀照。

The present article reinterprets the theory of “shi” 勢 (“propensity” or “self-so-doing”) found within writings and calligraphy from the Han to Six Dynasties period, as well as comparing the pre-Tang dynasty conception of “shi” with that of Liu Xie 劉勰 (ca. 465-ca. 522) in The Literary Mind and the Carving of Dragons 文心雕龍. Moreover, this article discusses how “shi” was being perceived by critics of literature and of calligraphy within their processes of criticism, perceptions which were influenced by the respective artistic attributes of literary and calligraphic phenomena. To further apprehend these perceptions within the development of a spatiotemporal and psychological “shi,” the notions of “shicha” 勢差 (“difference or disparity of shi”) and “shiwei” 勢位 (“condensed and clearer shi within perception”) are used as a point of discussion Through the above explorations, we can better understand the underlying connotations of the theory of “shi” and more comprehensively explore the similarities and differences of “shi” in literary and calligraphy criticisms prior to the Tang dynasty.