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This term refers to verses original in theme, sincere in feeling, distinctive in image, and refreshing in diction. “Refreshing” stands opposed to ornate phrases and excessive literary quotations, and indicates both fresh and natural expressions as well as elegant style and subtle aesthetic conception. What “exquisite” indicates is not that the wording itself is resplendent, but that there is complete freedom from vulgarity, and that the imagery is sharp with real sentiments. As a poetic term, it refers to the general feature of a poem, including its linguistic style.
The notion of enthralling charm carries a variety of meanings, such as symmetry, beauty, splendor, and attachment. It highlights the formal aesthetic features of magnificence, intricate beauty, and colorfulness, thus forming a major component of classical Chinese aesthetics. Stylistically, this term indicates elegance and majestic beauty. When referring to calligraphy, it suggests a nuanced taste and a delicate charm beyond the Chinese characters' external structures, arousing one's sense of beauty. When referring to music, enthralling charm appears in a miraculous melody, calling to mind a classical grace and serenity.
The term refers to a classical Chinese literary style generally known as “parallel prose,” largely composed of couplets of phrases with similar structure. Monosyllabic Chinese words, each represented with a single written character, are fairly easy to arrange in pairs of expressions with semantic symmetry and prosodic harmony. The ornate parallel style highlights the beauty of the form of the language without neglecting the harmony between form and content; and it is employed to produce fine works of utmost beauty, with form and content reinforcing each other.
This term refers to a literary writing style that is ornate and flowery in diction and excessively detailed and exhaustive in description, in contrast to being “simple and concise.” The tendency to write elaborately about an idea in ornate language first emerged in the Western Jin Dynasty, represented by the writings of Lu Ji (261-303). His works were rich in allusions and antitheses, meticulous in diction and description, and elaborate and ornate in style. At the same time, these writings suffered from a lack of clarity and novelty. During the Qi and Liang of the Southern Dynasties, this overly elaborative style was listed as one of the eight major literary styles in Liu Xie’s (465?-520? or 532?) The Literary Mind and the Carving of Dragons.
The term refers to the use of exaggeration and embellishment in a literary work to enhance its artistic appeal. When used as appropriate, exaggeration and embellishment can achieve an artistic effect beyond that of realistic descriptions. However, if overused, it will create the opposite effect, making the writing too flowery to be credible. Therefore, the literary critics of old China believed that excessive use of exaggeration and embellishment should be avoided.
The term is used to describe an excessively exquisite artistic work as if it were an object painted in bright colors and inlaid with gold and silver. In the literary context, it refers to poems written in a highly rhetorical style. Aesthetically, what is “gilded and colored” is considered undesirable, and the style of “lotus rising out of water” is preferred. The former focuses only on external form and appearance, whereas the latter, as a natural presentation of aesthetic ideas, penetrates appearances and brings out the essence.
The term of lotus rising out of water describes a scene of freshness, quiet refinement and natural beauty, in contrast to “gilded and colored” embellishments. During the Wei and Jin dynasties, people valued nature and favored this aesthetic view. In their artistic creations, they pursued the natural and fresh style like lotus rising out of water. They sought natural presentation of their ideas and were opposed to excessive ornamentation.
This concept refers to those calligraphic works, poems, essays, and other literary and artistic works that are natural, leisurely and simple in style but have profound implications. A natural and leisurely style rejects excessive embellishment and is not bound by any particular forms. Created by Su Shi (1037–1101) in the Song Dynasty as a term of literary and art criticism, this concept had great influence on literary and artistic works in the Ming and Qing dynasties. Based on the thought of Zhuangzi （369？-286 BC） and including the thinking of the Chan Sect, this concept stresses the need to be leisurely and simple and the need to avoid being opinionated, to break free from the fetters of rules and regulations and to take things as they come to ensure that an artistic work embodies the beauty of leisure, simplicity, freedom, and naturalness.
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