Abstract: This article adopts the philosophical framework of “Yi-Xiang-Yan” (意-象-言)to systematically examine the development of Chinese Classic Theories of Literary Creation,while offering a comparative perspective with Western Theories of Literary Creation.Western literati often emphasize the attainment of spiritual reality through static contemplation of nature and dynamic imaginative activity,a view that partially corresponds to the Chinese notion of Yi (意).However,fundamental differences emerge in the conceptualization of Xiang (象),particularly concerning the relationship between mental image and external phenomena.Rooted in Neoplatonism,Western literary critics tend to valorize visual perception,whereas Chinese critics tend to emphasize xinxiang (心象),regarding sensory experience and external objects as merely stimuli for transcendent insight.Furthermore,Western literary critics typically regard language as a merely technical or secondary insrument and thereby exclude it from the core creative process.In contrast,Chinese critics integrate yan (or language) in the continuum of literary creation,linking it organically to creative conception.This contrast highlights a significant structural gap in Western literary theory-the long-standing disjunction between textual form,the act of writing,and the author’s creative imagination.The author calls for a deeper dialogue between Chinese and Western literary theories,arguing that classical Chinese poetics may offer vital theoretical resources and inspiration for rethinking Western approaches to examining literary creation.