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This term refers to the emotional strength and the vitality of a literary work. It was first used during the Southern Dynasties, resonating with the social practice of making comment on people. The term was used to describe the emotional vigor and forcefulness of artistic works such as poetry, essays, calligraphy, and paintings. It is similar in meaning to fenggu (风骨), but contrary to fengzi (风姿), a term meaning external elegance of an artistic work.
Qi (vital force) has a material existence independent of subjective consciousness and is the basic element of all physical beings. It is also the basis for the birth and existence of life and spirit. In addition, some thinkers have given a moral attribute to qi. Qi is in constant motion and change, and has no specific shape. Its concentration gives birth to a thing and its evaporation signals the end of that thing. Qi permeates all physical beings and their surroundings. Qi, as a philosophical concept, is different from what is commonly understood by the word qi (气), namely, air. Although things in liquid or solid form are different from things in air form, from the perspective of the ancient Chinese philosophy, their formation and existence are the results of the concentration of qi.
This term refers to powerful expressiveness and artistic impact that come from a literary work’s purity of thoughts and emotions, as well as from its meticulously crafted structure. Despite some difference in interpreting the term, people tend to agree that fenggu (风骨) can be understood as being lucid and fresh in language while sturdy in structure. Feng (风) means “style,” which emphasizes that a literary work should be based on pure thoughts, vivid impressions, and rich emotions so as to produce an effect of powerful expressiveness. Gu (骨) means “bones” or proper structure, figuratively. It stresses the impact of structure and sentence order, requiring a piece of writing to be robust, vigorous, profound, and yet succinct. If a piece of work is wordy and overly rhetorical but weak in content, then it lacks the impact of a “proper structure,” no matter how flowery its expressions are. If such writing is awkward in delivery and has no emotions and vitality, then it lacks expressiveness in “style.” Fenggu does not preclude, but rather combines with linguistic elegance in order to create a piece of good work. Good command of fenggu depends on the personality and dispositions of the author. In The Literary Mind and the Carving of Dragons, Liu Xie （465？-520? or 532?）of the Southern Dynasties devoted a chapter to the discussion of fenggu, which is the first essay on writing style in the history of classical Chinese literary criticism.
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.
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