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This refers to a state of mind Xunzi （313？-238 BC）proposed as a way to master the dao of general morality. He believed that one gets to know dao through the action of one’s heart and mind. But since the human heart and mind are often closed, they can only function normally when one is open-minded, concentrated, and consequently tranquil. Xu (虚), or open-mindedness, prevents prior knowledge from hindering the acquisition of new knowledge. Yi (壹), or concentration, allows one to assimilate knowledge of different categories while keeping them from interfering with each other. Jing (静), or tranquillity, is to keep the false and confusing knowledge from obstructing one’s normal process of contemplation.
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 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.”
This term was first used by Laozi as a way to understand dao. He believed that one cannot understand dao by calmly observing everything unless one abandons all distracting thoughts and biases, and keeps one’s mind as clear as a mirror. Later literary critics believed that the state of mind as required for xuanlan has similarities with the state of mind required for literary writing and appreciation, thus they made it an important term to mean one’s state of mind must transcend all desires and personal gains in literary writing and 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.
The term originally referred to the appearance of an artist who is concentrating on painting. It has been extended to mean an unrestrained state of mind free from external interruption when an artist is doing creative work. The book Zhuangzi describes a painter drawing freely with his clothes thrown open and legs stretching out. “To unbutton one’s clothes” is to expose one’s chest and arms; and “to sit with legs stretching out” indicates a casual posture while one is concentrating on painting. This term stresses the importance of a relaxed state and complete freedom of mind to the successful creation of quality artwork. This concept had significant influence on subsequent development of theories on calligraphy and painting in later generations.
The term, which first appeared in the Chinese classic writing Zhuangzi (Zhuangzi 369 ?-286 BC), means that one can easily see the existence of the dao with no need to rely on verbal explanation or on logical analysis. Later it was used for literary creations and in the field of connoisseurship. The concept emphasizes the need for one to transcend audio and visual perceptions and logical analysis, and do away with any interfering thoughts or external objects in order to attain true appreciation of art. The concept highlights the importance of seeking intuitive insights unaffected by utilitarian considerations in literature and art.
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.
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