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Qu is the aspirations, emotions, and interests expressed in the work of a writer or artist. His pursuit of qu determines his unique perception and comprehension of nature and life. It also determines what theme he chooses for his work and how he gives expression to it. Qu is invisible but manifests its value and appeal through aesthetic appreciation.
This term refers to the philosophical substance of a work as well as its literary appeal conveyed to readers through its artistic image. In other words, it means the philosophical insights and aesthetic engagement that readers acquire through the process of appreciatively reading classic literary works. For example, poets of the Wei, Jin, or Southern and Northern dynasties were fond of entertaining abstruse schools of philosophy in their poems, while Song-dynasty poets often used poetry to comment on the society of their time. Both practices were treated as faults by some critics of later times. Some later critics even maintained that philosophical content should never figure into a poem apart from artistic images. Instead they insisted that the substantial content of the poem should be conveyed only by means of artistic images so that it could be grasped by readers through their appreciation of the work’s artistic features, thus the term “substance through artistic appeal.” Li (理) in this phrase refers to insights derived from the experience of life rather than bookish knowledge and learning. It is not something that can be acquired or expressed through logical argument. Qu (趣) refers to the aesthetic delight readers obtain when they acquire insight into life through reading classic literary works. This concept turns the dispute over whether poems could present logical arguments into a theory of the integration of reason and taste in poetic writing. It helps critics appreciate dialectically those literary works that contain both logic and insight.
This term refers to an effect that allows lasting satisfaction and rewarding in poetry appreciation, which is a particular sense of beauty offered by poetry. In the Southern Dynasties, poetry critic Zhong Rong （？-518？）proposed in “The Critique of Poetry” that in writing five-character-per-line poems, one should pay special attention to the combination of form and content, so that readers could enjoy a poem with inexhaustible delight. Later, nuanced flavor also came to refer to a kind of taste in literary and artistic creation.
中华思想文化术语传播工程 秘书处
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