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Readers of poetry create images and scenes in their minds based on what they are reading. These are the readers’ imaginations based on what is depicted in the poems. The term comes from Daoist theories about the relationships between discourses, ideas or meanings, and images that symbolize profound meaning in The Book of Changes. From the Wei, Jin to the Tang Dynasty, poetry critics sought “the image beyond an image, the scene beyond a scene” in order to pursue the spiritual implications and the beauty of images that are beyond textual descriptions. This term gives expression to the artistic and aesthetic tastes and ideals of the Chinese nation.
Inspiring imagery is an artistic achievement of profound literary significance and with great aesthetic taste, obtained through the perfect blending of an author’s feelings with an objective situation or scenery. Xing (兴) is an impromptu inspiration of the author, and xiang (象) a material object he borrows from the external world in his writing. Tang-dynasty poetry critic Yin Fan first used the term “inspiring imagery” in his “Preface to A Collection of Poems by Distinguished Poets” in commenting on the works of poets in the golden period of the Tang Dynasty. It later became a standard for assessing the merit of a poetic work.
Imagery refers to a typical image in literary works, which embodies the author’s subjective feelings and unique artistic conceptions. Yi (意) literally means an author’s feelings and thoughts, and xiang (象) refers to the image of a material object in the external world, an artistic image reflecting the author’s thoughts and feelings. In literary creation, imagery often refers to those images in nature with which an author’s feelings and thoughts are associated. Emphasizing the harmonious relationship between beauty in both form and content, it is a mature state of literary creation.
Qixiang (气象), originally a term about the general state of scenery and physical objects in nature, also refers to the prevailing features of a society in a given period of time. This description carries the meaning of great appeal and impact as well as scenery and objects. When applied to art, it refers to the overall style and appeal in a piece of artistic work. It connotes grandeur and magnificence, and is often used in conjunction with such words as “heroic,” “immense,” and “sublime.” Literary critics of the Tang Dynasty began using the term to comment on the style and features of a poem or an essay. Since the Song Dynasty, the term has become an important concept in literary criticism, used to critique the style and artistic flair of poems, essays, calligraphy, and paintings. It is often thought to reflect the prevailing features in literature and art of a particular period. For instance, during the prime of the Tang Dynasty, the term referred to the appeal of both poems and the poets who wrote them.
This term refers to the mutual dependence and integration of an author’s description of scenery and objects, and his expression of feelings in his literary creation. Qing (情) is an author’s inner feelings, and jing (景) refers to external scenery or an object. The theory of sentiment and scenery stresses integration of the two, maintaining that sentiment can hardly be aroused without scenery and that scenery or an object cannot be appreciated without sentiment. This term appeared in the Song Dynasty. Compared with earlier notions about sentiment and scenery, this one is more emphatic about fusing the depiction of scenery with the expression of feelings, and the process of creation with that of appreciation.
The term refers to a state where the scene described in a literary or artistic work reflects the sense and sensibility intended. Jing (境) originally meant perimeter or boundary. With the introduction of Buddhism into China during the late Han, Wei and Jin dynasties, the idea gained popularity that the physical world was but an illusion, and that only the mind was real in existence. So jing came to be seen as a realm that could be attained by having sensibilities of the mind. As a literary and artistic term, jing has several meanings. The term yijing (意境) was originally put forward by renowned Tang poet Wang Changling (?- 756 ?). It describes an intense aesthetic experience in which one’s perception of an object reaches a realm of perfect union with the implication denoted by the object. Aesthetic appreciation in the mind is characterized by “projecting meaning into a scene” and “blending sentiment with scenery.” In contrast with the term yixiang (意象 image), yijing fully reveals the implication and the heightened aesthetic sense that an artistic work is intended to deliver. The concept is extended to include other notions such as sentiment and scene, actual and implied meanings, or mind and object. It also raises literary and artistic works to a new realm of aesthetic appreciation. After evolving through several dynasties, this concept developed into an important criterion to judge the quality of a literary or artistic work, representing an accomplishment drawing on classical writings through ages. It has also become a hallmark for all outstanding literary and artistic works. The term also represents a perfect union between foreign thoughts and culture and those typically Chinese.
The term means to conceptualize an aesthetic feeling by selecting images that best express a poet’s sentiments and appreciation. The term qujing(取境) was coined by the Tang monk poet Jiaoran (720-796?) in his Poetic Styles. After conducting a review of how poets from the Six Dynasties to the mid-Tang Dynasty wrote poems, he concluded that to write poems, one must structure one’s thoughts ingeniously so as to generate a uniquely original conception with no trace of clichés. Then, after some deep thinking, an inspiration will arise and his imagination will run free. In this way, the poet can create a poem with a fine visionary world. Although the conception may be highly original, ultimately the style of the work should be simple and natural without any traces of having been laboriously crafted. This term is closely related to the terms jingjie (境界) and yijing(意境); together, they are part of a series of terms dealing with jing (境) in classical Chinese poetics.
The aesthetic conception evoked by a poem or prose transcends what a physical object denotes, and a reader needs to perceive and appreciate the beauty of such aesthetic conception. Jing (境) here refers to an aesthetic conception created by a poem or prose, while xiang (象) refers to the image of a concrete object portrayed in such writing. Composed of words, a poem describes individual objects through which it evokes a coherent poetic conception beyond the physical appearance of such objects. This proposition was first put forward by poet Liu Yuxi （772-842）of the Tang Dynasty to express his understanding of poetry. He pointed out that words and images were concrete while aesthetic conceptions were abstract and subtle and therefore hard to describe. Liu’s proposition, namely, aesthetic conception transcending concrete objects described, marked an important stage in the development of the theory of aesthetic conception in classical Chinese poetry.
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