The notions of ”body” (shen 身) and ”situation” (jing 境) are the theoretical axes of Wang Changling's 王昌齡Shi ge 詩格(Poetic Rules). The concept of ”body-situation” (shen-jing 身境), on one hand brings to light the nature of ”the present body” and ”the situated body” as roots of the creative act, and together with shen and jing forms the ”three situational spheres” (sanjing 三境). On the other hand it reveals that the body subject's generation of a ”situation-image” and ”situation-thought” via ”situation-perception” (jing zhao 境照) represents the creative subject entering into the process of aesthetic observation. Besides this, the rhythm and rhyme of poetry is a fundamental schema for the rhythmic patterns of mind and body; when New Poetry (xinti shi 新體詩) matured during the Tang dynasty, body-situation also emerged as a further rethinking of another concept, ”sound-situation” (sheng-jing 聲境). Using body-situation as its theoretical basis, this essay attempts to explain how Wang's Shi Ge was innovative, and the transformation of the poetic canon to which it led.