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chéng huái wèi xiàng 澄怀味像 Clear the Mind to Savor the Image 指放空心灵，抛却一切世俗干扰与功利之心，在虚静空明的心境中，观赏、品味由“道”所呈现的物象。“澄怀”是“味像”的前提，唯有不受客观束缚与世俗影响的审美才最接近于“道”。此时，物与我消泯了界限，审美者可由玩味山水而与“道”相通，体会到精神的真正自由与超越。“澄怀味像”是中国古代山水画理论中的重要术语，属于艺术直觉论，它是对老子思想“涤除玄览”的继承与发展，启发了书法、文学等其他领域的创作理论。 This refers to emptying one’s mind, casting aside all kinds of worldly interference and eliminating the desire for fame and fortune. In a state of thorough, lucid serenity, one can observe and enjoy physical objects as manifested by Dao. “Clearing the mind” […]

chéngqì 程器 Assessment of One’s Overall Qualities 综合考量文士的器用与文采。由南朝刘勰（465？—520）在《文心雕龙》中提出。“程”，衡量，考量；“器”，兼指个人品行、治国之能与文才几方面。刘勰认为，汉魏以来有些文人或因品行有失，或因缺乏处理国家军政事务的能力，以致被世人讥诮，作品声誉受到牵累。因此他提出，文士不仅要具备写作才能，还应该具备良好的品行及为国家建功立业的能力。他认为有道德的人必然心怀天下，拥有广博见识，培养多方面才能，在多方面有所作为。他主张将立德、立功、立言统一起来，作为全面评价士人的基本标准。 This term refers to a comprehensive assessment of a scholar’s abilities and literary talent. It was first put forward by Liu Xie (465?-520) of the Southern Dynasties in his literary critique The Literary Mind and the Carving of Dragons. Here cheng (程) means to assess; qi (器) refers to

chéngmén-lìxuě 程门立雪 Standing in Snow at the Gate of the Cheng Home 冒雪侍立在程颐（1033—1107）门外。立雪：站在雪地里。北宋时，有个叫杨时（1053—1135）的人，他和朋友游酢（1053—1123）一同去著名学者程颐家里请教问题。程颐正在午睡。为了不打扰老师，两人冒着大雪，恭敬地在门外等候，积雪达一尺厚。程颐醒来，深受感动，悉心指导杨时，杨时最终学有所成。这个故事树立了学生诚心求教、尊敬老师的榜样。又据禅宗典籍记载，二祖慧可（神光）为求得菩提达摩指引，亦于夜晚大雪天长时间侍立。“立雪”与“尊师重道”所体现的是同一个道理。这也是中华民族自古崇尚的美德。 In the Northern Song Dynasty, Yang Shi (1053-1135), together with his friend You Zuo (1053-1123), went to visit the renowned scholar Cheng Yi (1033-1107) to seek his answer to some questions they had. Cheng was having a nap. Not to disturb him,

chén shī zhǎn yì 陈诗展义 Write Poetry to Express Feeling and Aspiration 诗人创作诗歌是为了展示自己的内心情感和志向。这是南朝诗论家钟嵘（468？—518）在《诗品序》中提出的关于诗歌创作动机的重要看法。钟嵘强调四时节物的变化以及社会人事际遇对诗人创作的影响，认为诗人用诗歌来展现内心的情感活动与志向。钟嵘的诗歌美学在注重外部世界激发诗人创作冲动的同时，又强调情感对于诗歌的独立审美价值，这一理论无疑比汉代儒家的“诗教”说要进步许多。 This term, concerning the motivation in poetry writing, was first used by the Southern Dynasty poetry theorist Zhong Rong (468?-518) in his “Preface to ‘The critique of Poetry.’” He emphasized the impact upon a poet’s creative activities of seasonal changes and encounters

cháng 常 Constant Laws of Nature 恒常的法则。古人认为，天地万物的运行、人伦生活的运转都遵循着某些恒常不变的法则。人们将这样的法则称为“常”，有时也称“常道”或“常理”。“常”与“变”相对，但又密切相关。“常”作为事物遵循的法则是恒常不变的，但这种恒常的法则又是在事物纷繁的变化中呈现出来的。人们正是在事物的不断变化中，去探寻、把握恒常的法则。 It refers to the constant nature or regular pattern of natural laws. The ancient Chinese believed that phenomena in the universe and life in human society are governed by constant laws in their movement. People characterize these laws as being “constant” and sometimes call them “constant ways” or

bùzhēnkōng 不真空 Emptiness as Non-substantiality “空”并非绝对虚无，事物因虚假故所以空。不真空的概念由僧肇（384或374—414）申明，主要针对东晋时对“本无”的误解而产生的各种空观。历代注疏家对“不真空”的解读大致可分两个方面：不真故空，确立万法不实的宗旨；同时，空并不真，强调虚假与绝对虚无的差别。 “Emptiness” is not absolute nothingness. Rather, it refers to the fact that existence does not last forever. This term was explained in detail by Seng Zhao (384 or 374-414), who opposed the views derived from a prevailing misunderstanding of “original non-being” in the Eastern Jin Dynasty. Commentators’ interpretations of

bùsìzhīsì 不似之似 Dissimilar in Form but Similar in Spirit 指艺术作品不刻意追求外形与描写对象的酷似，而是在传神达意上达到更高程度的相似。也说“不似而似”。唐宋元绘画理论重视“神似”超过“形似”，到了明代，以石涛（1641—1718?）为代表的画论观点，反对自矜神韵的重意轻形，亦反对刻意求似。他们认为最理想的状态是“不似之似”，“不似”是指笔情恣意，脱离陈旧套路，不过于追求外形的真实；“似”是指以生活真实为基础，而臻于传神写意的真实。不似之似相当于在艺术真实与生活真实中达到巧妙的平衡。 This happens when artists do not aim deliberately for virtual replica in form between works of art and the objects depicted but make every effort to achieve a resemblance in spirit. This is also known as “dissimilar in form but similar in spirit.” The Chinese

bù shè lǐlù, bù luò yánquán 不涉理路，不落言筌 Dispense with Theory and Logic; Take Care Not to Fall into Traps of Language 不关涉论理和逻辑，不落入语言的束缚。筌是竹制的一种捕鱼器，比喻束缚、拘碍，“言筌”即指语言文字的束缚。这是宋代严羽在《沧浪诗话》中所提出的有关诗歌学习及创作的要求。这一术语相当于对“妙悟”的解释，诗歌有独特的思维方式和审美要求，它的本质是吟咏情性，注重当下即是的感觉，而不是阐发义理、卖弄学问。学习诗歌，也要避免受到论理和语言文字的束缚。 Poets should not concern themselves with theory, logic or any other convention in the use of language. Quan (筌), originally a bamboo fish-catching device, later was used as a metaphor for any form of

bù nián bù tuō, bù jí bù lí 不黏不脱，不即不离 Neither Obsessed with nor Detached from the Objects Depicted 指诗歌的咏物不可太执著于物本身，应当既不黏滞又不脱落，既不太过接近又不完全离开。“不黏不脱，不即不离”包含两方面的内容：一指作品所使用的语言、意象等与所咏对象的关系，一指作品的主题与所咏对象的关系。它强调，如果用语太过切近，作品就缺乏味道，粘皮带骨，但如果不切题，又难免捕风捉影，过于浮泛。除了体物的要求，咏物诗还有寓意寄托的要求，寄托之意不能勉强，否则就落入教条。传神写意在微妙的离合之间，才能创作出好的咏物作品。 In writing poetry, poets should neither totally adhere to nor digress too much from the objects depicted. This term includes two aspects: the relationship between words, images and the objects depicted, and the relationship between the