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.

To achieve vim and vigor, a calligrapher should be morally cultivated, emulate master calligraphers of old times, gain access to quality brush and paper, be bold in his execution of strokes, have extra wisdom and skill, be smooth and finely polished, handle his strokes properly whether they proceed toward or away from each other, and often be innovative. (Jiang Kui: Subsequent Commentaries on Calligraphy)

Of all the essayists since the Western Han Dynasty, I adore the Grand Historian Sima Qian most. His way of writing is compelling, heroic and deeply sorrowful. The majestic vigor of his essays often lies beyond words and rhetorical devices, holding a truly magical appeal. Like a fairy on the river Xiaohe, Xiangshui or Lake Dongting, it can be viewed from afar but never actually approached.

(MaoKun: A Preface to Selected Works of Ouyang Xiu)