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When describing
something, literary writing should be able to go beyond external appearance to
capture the essence so as to reflect a high degree of reality. Zhuangzi （369?-286BC）considered that the
essence of life lies in the inner spirit rather than the physical form. One
should forget one’s physical existence and give full free rein to the spirit.
The late Tang poet Sikong Tu (837-908) adopted this view and believed that poetic
description should likewise focus on essence rather than form. This concept of
poetic creation and critique was later applied in calligraphy and painting as
well.
This term refers to the subtle elegance of literary and artistic works. It was originally used to depict a person’s mien and manner. During the Wei and Jin dynasties, the propriety inherent in a person was valued, whereas during the previous Han Dynasty, a person’s external appearance was stressed. Later on, this concept was incorporated into the theory of calligraphy and painting to refer to the elegant subtlety of a work. In the Ming Dynasty, the concept was extended to the theory of poetry, and elegant subtlety became a requirement for composing poetry. Later, Wang Shizhen（1634—1711） of the Qing Dynasty further developed the theory of elegant subtlety. In compiling The Elegant Subtlety of the Tang Poetry, he elaborated on his aesthetic views. In his writings on poetry theory, Wang Shizhen championed these views and created his own unique poetical aesthetics, enriching the theory of elegant subtlety, and making it a major school of the Qing-dynasty poetics.
Have a Complete Image of the Bamboo Before Drawing It / Have a Fully Formed Picture in the Mind’ Eye
This term means to have an image of the art in one’s mind prior to artistic creation. It describes the use of mental imagery in the course of artistic creation, and also sets a requirement for both artistic creation and for design in craftsmanship. For the creator of an artwork, concepts, feelings, intentions and objects should be integrated in the mind to form an aesthetic image. After this artistic conceptualization is completed, technique is used in conjunction with physical materials to form a tangible work. For a craft designer, the emphasis would be more on rational thinking, and revisions would be permissible. Having a fully formed picture in advance is an ideal state.
This term refers to literary descriptions of characters which are accurate both in form and in spirit. Chuanshen (传神), to “convey the spirit,” is to fully express the spiritual world within the character, so that he comes to life; xiezhao (写照), to “capture the person,” is to create a vivid physical depiction of him. These expressions were originally used in discussions of art but were later introduced into literature. They represent an artistic state which artists and writers try to achieve as they create images of people as well as all artistic images.
This term means a poet uses the techniques of analogy and stimulation to depict the form and the external appearance of things. He takes in internal connotations and the principles of things, thus linking originally different things and combining them. Nirong (拟容comparing appearances) attaches importance to specific forms for bixing (比兴 analogy and stimulation). While quxin (取心 grasping the essence) aims to get at the spirit and the essence of things, it therefore attaches importance to internal connotations and to the principles contained in the form of things. The combined meaning is that by giving expression to the form of things with a certain meaning, one may imply and express his thoughts and feelings. This notion appeared in The Literary Mind and the Carving of Dragons. It developed from niwu lixiang (拟物立象 create images through object imitation) in The Book of Changes. Liu Xie (465?-520) first used this term, mainly to explain that analogy and stimulation are inter-connected but are different: Analogy here means “comparing appearances.” Staying true to the principle of things is most important, and anything far-fetched should be avoided. Stimulation means “grasping the essence,” sensing the abstruse and being connected with the meaning.
This concept means a painter should be good at association in thinking in artistic conception and creation. He should give full rein to his imagination and connect and reconstruct a variety of source images and materials so as to create a great painting in both image and spirit. “Association in thinking” stresses imagination, selection, connection and conception. While the subject matter and source materials come from reality, the painting is by no means a replica of it. “Association in thinking” makes it possible for a painter to reconstruct his thoughts and emotions in the image of his work. “Inspirational creation” stresses the aesthetic effects of a good painting that derives from “association in thinking.” A good painting should not only create a good image, but also enable the viewer to appreciate the underlying message. Such a painting is one of inspirational creation. “Association in thinking” and “inspirational creation” together constitute an inseparable process of artistic creation. This concept is the earliest definition of artistic conception and aesthetic appreciation in China; it later became an important principle underlying the theory on Chinese painting.
Painters depict physical appearances to reveal the essence. Gu Kaizhi(345?-409), a painter of the Eastern Jin dynasty, lays great emphasis on the correspondence between the essence and physical forms: He depicts the appearance of objects in great detail, which embodies their spiritual disposition. He believes this is the highest requirement of painting. He urges painters to capture those outward features that best reveal the spiritual attributes of the objects depicted. This view has exerted a great influence on later artistic endeavors.
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