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This term refers to the state of mind in which external things evoke one’s inner feelings, thus creating aesthetic appreciation. As an aesthetic term, evocation means both stimulation and association. In artistic appreciation, Confucius（551-479 BC） used evocation to refer to the psychological effect and educational function of reading poetry, and it was not meant to be a literary term only. In artistic creation, evocation means association, which is among the six poetic forms, namely, ballads, narratives, analogies, association, court hymns, and eulogy, as described in The Book of Songs. The first three refer to the content and subtypes of classic Chinese poetry, whereas the latter three elements are creative means employed by The Book of Songs. Evocation is defined by the use of similar or relevant things to create a metaphor which, by virtue of imagination and association, conveys a message through imagery and highlights the nuances of poetry. Evocation arouses one’s imagination through reading a poem, making such experience an enjoyable one. It is a rhetorical means frequently used in classical Chinese poetry. At first, evocation was closely linked to analogy. Its implication and aesthetic properties started to grow independently in the Wei, Jin and Southern and Northern Dynasties period, and finally became a poetic term different from analogy and association. Evocation focuses on the impact of external things on one’s emotions.
The six arts may refer to two sets of content. They may refer to the Six Classics: The Book Songs, The Book of History, The Book of Rites, The Book of Music, The Book of Changes, and The Spring and Autumn Annals. Confucian scholars through the ages kept interpreting these classical texts, endowing them with rich significance. Theories related to the six arts represent the basic views of the ancients in regard to world order and values. The six arts may also refer to the six skills of rituals, music, archery, charioteering, writing, and mathematics, which were the basic contents of school teaching in antiquity.
The term means the use of analogy, association, and inner sustenance in writing a poem to give implicit expression to one’s sentiments, thus enabling the poem to convey a subtle message. The term was first used by the Tang dynasty poet Chen Zi’ang（659-700）. Xing (兴) means the development of inner feelings invoked by external objects, and ji (寄) means finding sustenance in them. Later it was extended to mean that poetry should be written to convey a message of praise or satire. The term carried on the pre-Qin poetical tradition of creating inspiration by writing about a subject and stressed that while depicting sentiments in poetry, the poet should find sustenance in it. The term represented an important development of the theory of analogy and association. It played a major role in ensuring that poets in the prime of the Tang Dynasty broke away from the poetic style of the Qi and Liang of the Southern Dynasties, which pursued ornate language instead of inner sustenance, thus enabling Tang poetry to develop in a healthy way.
The term refers to charm inherent in an inspiration, or charm created when the object or scene depicted in a poem is appreciated. It is a type of aesthetic enjoyment contained in a poem which is gained through the reader’s act of appreciation. In Canglang’s Criticism of Poetry, Yan Yu（？-1264）, a poetry critic of the Southern Song Dynasty, voiced his love for poetry’s emotional charm and argued against direct expression of an idea in poetry. He stressed the need to enable readers to gain insight and satisfaction in a natural way through personal reflection and contemplation. This term later became an important criterion for evaluating poetry, exerting a strong influence on the poetry theories of the Ming and Qing dynasties.
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.
The term refers to the meaning implicit in an inspiration, or meaning and charm generated when poetic emotion encounters an external object or scene. It is an artistic image an author creates when appreciating the beauty and charm intrinsic in an object or scene. According to this term, an author should incorporate his sentiments and thoughts into the object or scene depicted to convey them through artistic images and aesthetic appreciation. This will spark the reader’s imagination and thus enable him to gain a deeper appreciation of a poem.
These are the three ways of expression employed in The Book of Songs: a narrative is a direct reference to an object or an event, an analogy metaphorically likens one thing to another, and an association is an impromptu expression of a feeling, a mood or a thought, or using an objective thing as metaphor for sensibilities. Confucian scholars of the Han Dynasty summarized and formulated this concept of narrative, analogy, and association, which later became the basic principle and method in classical Chinese literary creation.
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.
According to Confucius（551-479BC）, The Book of Songs served these four purposes, which summarize the basic functions and values of literature. “Stimulation” means that the appreciation of literary works arouses imagination, stimulates reflection on society and life, and inspires aspirations and interests. “Contemplation” means that reading leads to understanding nature, society, life, and politics. “Communication” means that reading encourages discussion with others, and exchange of thoughts and feelings. “Criticism” means learning how to critically express oneself about state affairs and voice inner feelings. These four functions are closely associated and involve the aesthetic, cognitive, and educational functions of literature. Later scholars have continued to make original contributions to the study of these themes.
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