This refers to the momentum, charm, and vitality in paintings as well as in calligraphic and literary works which together create artistic appeals. The term was first used to refer only to painting, meaning that the proper use of ink and the painting brush could vividly present natural landscape, make the painting flow with vitality, and enable viewers to appreciate its underlying allure. Later, the term was extended to cover poetry, essay, calligraphy and other literary creations. Artistic appeal, which is similar in meaning to such terms as artistic charm and literary charm, is an aesthetic appreciation gained through experiences and feelings. Expressed in a work of art, artistic appeal reflects an author’s unique approach to art and inspiration, something that he is born with rather than acquired.
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 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.
The term refers to vim and vigor found in a great work of art. It first emerged among comments on famed persons in the Wei and Jin period. Later, it was brought into the field of artistic criticism. The Tang Dynasty’s theory on calligraphy adopted the term to describe the artistic features of a calligraphic work. In his essay titled “Subsequent Commentaries on Calligraphy,” Jiang Kui (1155?-1209) of the Song Dynasty further argued, on the basis of the concept of “vim and vigor,” that the merit of a calligraphic work is jointly determined by the calligrapher’s moral character, origin of his style, skill, innovation and the kind of brush and paper he uses. The term gained its popularity when Ming Dynasty’s Mao Kun (1512-1601) used it in his critical essays. He praised Records of the Historian as its classic example and spoke highly of Ouyang Xiu’s (1007-1072) essays for their vim and vigor. His criterion was to see whether a smooth flow of narration was ensured and complicated nuances of feeling admirably expressed in an essay.
The term refers to six techniques and aesthetic principles for painting formulated by Xie He, a painter between Qi and Liang of the Southern Dynasties. After studying famous painters of the previous age, he summarized his views on painting in six basic rules: dynamic style, forceful brush strokes, life-like image, characteristic coloring, careful arrangement and imitation and copying models. In this way, he established a theoretical framework for traditional painting. “Dynamic style” means that a painting should make the viewers appreciate its vitality and charm. This is a general principle focusing on the aesthetic effect. The other five rules concern specific techniques. “Forceful brush strokes” means being able to wield the brush to portray characters freely with lines of various shapes. “Life-like image” means the image should vividly capture the form of the depicted. “Characteristic coloring” means applying color according to the characteristics of the subject of the painting. “Careful arrangement” means a composition should achieve a good overall effect. “Imitation and copying models” means copying masterpieces to refine one’s painting skills. These rules became the basis for later art criticism and discourse on the five aspects of technique, providing a summary of ideal painting techniques and enriching theory on painting. The “six rules of painting” cover the basic techniques and aesthetics of ancient Chinese painting. They also established guidelines for art appreciation and influenced criticism and artistic creation in China from the Six Dynasties on.