A person’s creative impulse is triggered by one or more externalities, and after conceptualization and artistic treatment, this results in a work of art. Such externalities include both natural sights and scenes from life which can be directly sensed. Ancient Chinese believed that creation resulted from externalities which evoked a desire to create, and that works of art and literature were the result of combining externalities with subjective thinking. This term emphasizes the fundamental idea that artistic creation is rooted in life.
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.
Also “spontaneity and distinctiveness.” Biaoju (标举) originally meant “to mark out or stand out.” It later extended to mean “superior, unique, distinctive, and outstanding.” Hui (会) means “to get together.” Xinghui (兴会) refers to one’s passionate creative state and rich perceptions sparked by an object, and keen, naturally-inspired interest and charm in literary creation. The term, as a whole, indicates distinctive, spontaneous perceptions and emotions in literary creation, and intense interest and charm possessed by literary work. It is both a term of literary criticism and a concept of literary creation. Opposing false sentimentality, the term holds in esteem spontaneity, writers' talents and enthusiasm, and emphasizes free imagination based on intuition and free creation in a state of bursting inspirations.
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.