自一九七○年代以來，關於「抒情傳統」的論述，為中國文學與藝術的研究開啟新視野，影響深遠。高友工指出，抒情自我在抒情片刻的美感經驗，可以透過內化與象意，保存於藝文作品之中。筆者認為，中國抒情傳統跟大腦中的「預設模式網路」遙遙相映，都能讓我們重新認識藝文作品與自我意識的交互作用，本文希望探討該網路與抒情傳統的關係。預設模式與思緒飄盪密切相關，唐代律詩與北宋山水畫所牽涉到的「神遊」，可以視為意圖清晰、結構井然的思緒飄盪。在抒情藝術中，中國文人以社會歷史、地景座標為參照，追尋自我定位與生命價值，而神遊時心理距離與欣賞視角之變換，可以讓美感經驗具有靈動的氣韻，預設模式網路在此可能扮演關鍵角色。

Since the 1970s, discourses on lyrical tradition have opened up new horizons for the research of Chinese literature and art, and has far-reaching influences. Yu-Kung Kao pointed out that the aesthetic experience of a lyrical self in a lyrical moment can be preserved in art works through internalization and symbolization. I believe that the Chinese lyrical tradition and the brain's default mode network can shed new light on the interactions between art works and self-consciousness. This article aims to delineate the relationship between Chinese lyrical tradition and the default mode network. The default mode is closely related to mind-wandering. Mental travels involved in regulated verses of the Tang Dynasty and landscape paintings of the Northern Song Dynasty can be regarded as mind-wandering episodes with clear intentions and structures. In lyrical arts, Chinese literati use social history and geographic coordinates as references to pursue self-positioning and life values, while the changes of psychological distance and appreciation perspective during mental travel can make the aesthetic experience alive. The default mode network may play a key role in such experiences.