The term refers to a state of mind totally free from all constraints. It was first proposed by Zhuangzi (369?-286 BC) in one of his most well-known essays. According to him, people’s minds can go beyond predicament in a way that their bodies cannot, so mentally they can be independent of material concerns and free of all worries. Guo Xiang (?-312) of the Western Jin Dynasty had a new definition of the term: By acting in accordance with its own nature, everything can be free of troubles and worries.
The term describes a state of mind one achieves when appreciating an artwork, in which process one’s inner feelings interact freely and joyfully with nature. In particular, it describes one’s aesthetic experience of appreciating landscape paintings and landscape poems, when one feels absorbed with the natural scenes and images depicted. In his “On the Creation of Landscape Painting,” Zong Bing (375-443), painter of the Southern Dynasties, pointed out that by watching landscape paintings, one can appreciate the philosophy and pleasure which sages of past times drew from landscape. When doing so, one becomes oblivious to the external world and is totally free from worldly considerations, thus achieving full satisfaction of both body and mind. This term not only reveals the unique aesthetic function of landscape paintings, landscape poems, and natural beauty, but also demonstrates traditional literature and arts’ pursuit of harmony between nature and man and between mind and heart.
The term refers to a state of mind that is completely empty and void. It originates from the book Zhuangzi, in which the meaning of the term was explained by Confucius (551-479 BC) to Yan Hui (521-481 BC). Zhuangzi (369?-286 BC) believed that one’s ears and heart distinguish between oneself and others and between right and wrong, while qi (气 vital force), shapeless and empty, exists in everything and does not come into conflict with anything. Therefore, one’s mind should be empty like qi when coming into contact with external things so that one will not be different or clash with them. When one’s mind roams beyond physical things, freeing itself from the constraints and influence of other things, it maintains a state known as the “pure state of mind.”
Void and peace mean that all distractions, such as desires and rational thoughts, should be dispelled to attain peace and purity of the soul. The idea of void and peace was first proposed by Laozi and Zhuangzi(369?-286 BC), the founders of Daoism, and then used by Xunzi (313?-238 BC) to refer to a state of mental concentration. Such a state of mind is similar to the psychological conditions in appreciation of works of literature and art, which are characterized by being totally free from the awareness of oneself and the outside world, and free from any urge and desire. Therefore, thinkers and literary critics of earlier times used this term to explain the state of mind in literary and artistic creation and appreciation. It stressed the need for spiritual freedom in artistic creation, suggesting that this is an important precondition for reaching the highest level of aesthetic appreciation.
The term refers to a Daoist way of breaking away from the difference and opposition between one’s self and the universe. It comes from the book Zhuangzi, which elaborates its meaning in a dialogue between Confucius (551-479 BC) and Yan Hui (521-481 BC). In Zhuangzi’s (369?-286 BC) view, status and etiquette norms in the human world caused divisions and antagonisms and hence created constraints on people. One should forget status and norms and furthermore forget one’s own physical existence and intellect to cast off the differences between one’s self and the universe and thus be free from the constraints and influence of external factors.
This term refers to the features and limitations determined by the intrinsic nature of all things. Guo Xiang (?-312), a scholar in the Western Jin Dynasty, pointed out that each person or object has his or its own intrinsic natural attributes, such as size and shape of an object, or the life expectancy and intelligence or lack of it of a person. The natural attributes of a person or an object are inborn and therefore unchangeable. All things should remain content with their natural attributes. If people and objects follow their own nature and act within the scope of their natural attributes, they can enjoy unhindered freedom of movement.
This term refers to the creative process through which a writer interacts with subject matter and gives free rein to his imagination. During the process, he projects onto real objects his mental sensations and imaginings, and endows them with an aesthetic tone. Conversely, his imaginary sensations and imaginings are given concrete expression by real objects. The free interaction between mind and subject matter, transcending the limitations of space and time, creates a superb artistic work depicted in language. The term originated in the words of “taking advantage of the circumstances to let your mind wander freely” in Zhuangzi. Later, this idea was systematically developed by Liu Xie(465?—520) in The Literary Mind and the Carving of Dragons during the Southern Dynasties to describe imaginative contemplation. The term stresses the importance of interaction between the mind and the poetic subject matter as well as free imagination in the process of artistic creation. It demonstrates the process of thinking in artistic creation and succinctly summarizes the underlying features of aesthetic appreciation and freedom in artistic creation.