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The expression was first used in poetry criticism to mean that a poem fully met poetic stylistic standards. It later became an important term in Chinese classical operatic theory. It has two meanings. One is that the language used by a character in a play is simple, natural, easy to understand, and appropriate for the character. The other is that characters and plot of the play are true to life with a strong artistic attraction. In Ming-dynasty operatic theory, “professionalism” and “being true to life” are often used together to describe outstanding opera works.
The term originally referred to true colors and has been extended to mean true appearance. As a term of literary critique, bense (本色) has three meanings: 1) the artistic style and literary features that are compatible with a given genre; 2) the style and literary features that remain true to the writer’s individual character; and 3) the style that makes it possible for the writing to remain true to the author’s own experience and that gives truthful expression to his thoughts and feelings. Bense is not only a requirement for the writer but also for his works. In the literary criticism of the Song Dynasty, bense was often used to describe and evaluate the special qualities of different genres. In the literary criticism of the Ming and Qing dynasties, bense usually referred to the individual style of poets and writers and also those styles of writing that remained true to life experience and eschewed literary embellishment. Bense is often used together with danghang (当行professionalism) to mean “original and genuine”; it is often associated with the Dao of nature in classical Daoist philosophy, in opposition to the attitude and styles that stress literary embellishment.
The expressions are about the naturalness of literary and artistic works. The first one, “magically natural,” means that a literary or artistic work is completed naturally and achieves the acme of perfection without any sign of craft. The second, “overly crafted,” means that a work is meticulously crafted, but it is overly elaborate in style while lacking naturalness and spontaneity. “Magically natural” is used to refer to works accomplished by artists while “overly crafted” is used to describe works done by craftsmen. These two standards were proposed by Ming writer Li Zhi （1527-1602）in his “Random Thoughts,” which echoed his idea that writings must reflect the author’s true sentiments. Culturally, the distinction between “magically natural” and “overly crafted” is rooted in the Daoist thought of being harmonious with nature while forsaking excessive skills. Most Ming scholars favored literary naturalism and rejected elaboration and imitation.
This term refers to verses original in theme, sincere in feeling, distinctive in image, and refreshing in diction. “Refreshing” stands opposed to ornate phrases and excessive literary quotations, and indicates both fresh and natural expressions as well as elegant style and subtle aesthetic conception. What “exquisite” indicates is not that the wording itself is resplendent, but that there is complete freedom from vulgarity, and that the imagery is sharp with real sentiments. As a poetic term, it refers to the general feature of a poem, including its linguistic style.
The term of lotus rising out of water describes a scene of freshness, quiet refinement and natural beauty, in contrast to “gilded and colored” embellishments. During the Wei and Jin dynasties, people valued nature and favored this aesthetic view. In their artistic creations, they pursued the natural and fresh style like lotus rising out of water. They sought natural presentation of their ideas and were opposed to excessive ornamentation.
This term means poetry creation should present the unembellished beauty of nature and the genuine sentiments of human beings. The original meaning of yingzhi (英旨) is good taste. Used as a literary term, however, it refers to charming content and aesthetic conception in poetry. In The Critique of Poetry, Zhong Rong（？-518？） of the Southern Dynasties called on poets to express their thoughts and sentiments in their own words and opposed borrowing expressions from ancient poets. He criticized the excessive attention to ornate language and tonal rhythms in the writing of five-character-per-line poetry. He maintained that spontaneously created poems of good taste were most valuable. The expressions “natural” and “simple and unaffected” in later literary criticisms contain Zhong Rong’s ideas.
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