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This term refers to
the act of depicting the outward features of an object to convey its innate
character in literary writing. It stresses the need not only to reproduce in
words whatever appears before one’s eyes but also to capture it with one’s
soul, thus achieving a close communion with the object depicted. The point is
to bring out the hidden impact and spirit of things, or to express a profound
feeling toward them. Only thus can an excellent work of art be produced.
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.
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.
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 refers to the process in which an artist creates his unique artistic representations of concrete objects, found in the natural world and social life, by mimicking, refining, and synthesizing their perceptual images. This concept for artistic creation comes from The Book of Changes, which uses images of hexagrams to symbolize everything in nature and their rules of change. The Book of Changes has inspired literature and art to make use of concrete artistic images to interpret and describe nature and human beings themselves. This mode of thinking has exerted a far-reaching influence on literary and artistic theories in ancient China, nurturing the birth of the theory of imagery.
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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