“文势”是中国古代文论中具有独特民族特色的重要观点之一,西方及当代文论中没有与之对应的理论。“文势”属于作品的形式范畴,指受作品体制规范制约、在表现内容时所呈现出来的具有一定动态感的格局态势。它既受作家感情精神的制约,又与作品体制、语言文字、结构布局、表现技巧、意象组合方法等因素密切相关。“文势”具有运动性、包蕴性和多样性特质,对作品内容具有推动和展开作用。“文势”使作品呈现出一定的动态感、力量感和生命感,能诱发读者展开积极的艺术思维活动,从而产生丰富的审美情趣,这种独特的艺术审美功效为作品内容所无法代替。“文势”作为中国古代独有的文论观点,在今天仍然具有重要的理论意义和应用价值。因为“即体成势”、“形生势成”也是当代文学的创作规律,今天的各体文学同样也都体现着一定的“文势”。古代文论中的“文势”思想为我们提供了欣赏和分析评价当代作品的一个新视角。 “Wen ” is one of the important points of unique nationality in ancient Chinese literary theory. There is no corresponding theory in western and contemporary literary theory. “Wen ” belongs to the formal category of the work, refers to the work by the system norms constraints, in the performance of the content presented by a certain dynamic sense of the situation. It is not only affected by the writer’s emotional spirit, but also closely related to the work style, language, structure and layout, performance skills, image combination method and other factors. “Wen potential ” has the characteristics of motility, inclusiveness and diversity, and has the promotion and expansion of the content of the work. “Wen potential ” make the work show a sense of dynamic, strength and life, can induce readers to start a positive artistic thinking activities, resulting in a wealth of aesthetic taste, this unique art aesthetic effect of the content of the work can not instead. “Literary power ” as ancient China unique literary theory point of view, today still has important theoretical and practical value. Because “body becomes potential ”, “form into potential” is also the law of creation of contemporary literature, today’s individual literature also embodies a certain “Wen potential ”. The idea of ​​ “Literary Creation ” in ancient literary theory provides us with a new perspective on appreciation and analysis of contemporary works.