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shīchū-yǒumínɡ 师出有名 Fighting a War with a Moral Justification 兴兵开战要有正当的名义或理由。泛指做事有正当的理由。它包含两层意思：其一，师直为壮，谓出兵理由正当，则士气旺盛，战斗力强，否则难以服众；其二，无故不得兴兵，防止因贪、怒而穷兵黩武。其核心在于强调战争的正义性。这是文明精神的体现。 To wage a war, one must have a legitimate cause, just as we ought to have such a reason in doing all things. The term has two meanings. The first is that moral justification is a source of strength when waging a war. With moral […]

shényùn 神韵 Elegant Subtlety 指文学艺术作品中清远淡雅的意蕴和韵味。原本是对人物的风度神情的评价，魏晋时人认为人格之美在于内在精神气韵，不同于汉代人推重外形。后来这一概念进入书画理论，指作品内在的精神韵味。明代人从书画理论引入诗歌理论，使神韵成为对诗歌风格的要求，清代王士祯是“神韵说”的发扬光大者，他特意编选了《唐诗神韵集》，借编选理想的诗歌阐发自己的审美趣味，又在诗歌理论著作中大力倡导，构建起独具特色的诗歌艺术审美体系，从而使“神韵说”得以完善定型，最终成为清代诗学的一大流派。 This term refers to the subtle elegance of literary and artistic works. It was originally used to depict a person’s mien and manner. During the Wei and Jin dynasties, the propriety inherent in a person was valued, whereas during the previous Han Dynasty, a person’s external appearance was stressed. Later

shén yǔ wù yóu 神与物游 Interaction Between the Mind and the Subject Matter 文艺创作中人的精神与外物交融、自由驰骋的构思活动。在这一构思活动中，一方面人的精神感觉和想象投射到客观事物上，使客观事物具有了审美色彩；另一方面，虚无缥缈的精神感觉和想象也借助客观事物得以表达和呈现。“神”与“物”的自由融合，超越了时间与空间的限制，形成艺术形象，然后经过语言的表现，产生了美妙的文艺作品。这一术语源自《庄子》的“乘物以游心”，后经南朝刘勰《文心雕龙》的系统阐发，成为对“神思”这一术语的概括性论述，突出艺术构思过程中心灵与物象交融、自由想象的特点，既说明了艺术创作中的构思活动，也高度概括了文艺创作中的审美心理与创作自由的特点。 This term refers to the creative process through which a writer interacts with subject matter and gives free rein to his imagination. During the process, he projects onto real objects his mental sensations and imaginings, and endows them with an aesthetic

shànɡshànruòshuǐ上善若水 Great Virtue Is Like Water. 最完美的善就像水的品性一样，滋润万物却不与万物相争。出自《老子》，老子以水的这种柔弱之性比喻至善的执政者应有的品德。执政者面对百姓，应如水之于万物，辅助、成就百姓的自然而不与百姓相争。后多指为人处世时能像水一样滋润万物，尽己所能帮助他人却从不争名逐利，或者具有坚忍负重、谦卑居下的品格。 The greatest virtue is just like water, nurturing all things without competing with them. This term was first used by Laozi to advocate the belief that a virtuous ruler should govern with gentle and accommodating qualities as demonstrated by water. He should assist and provide for people just

shànɡdì 上帝 Supreme Ruler / Ruler of Heaven 主要含义有二：其一，上古传说中指主宰宇宙万事万物的最高天神。也叫“天帝”。商周时期，巫是联通人与上帝的媒介，巫通过卜筮向上帝请示，传达上帝的旨意。其二，指帝国或王朝的最高统治者，即帝王、君主，包括远古或死去的帝王、君主，犹言“天子”。基督教传入中国后，基督教教士又借用“上帝”一词作为对其所崇奉之神God的译称。 The term has two meanings. One is the supreme ruler of the universe, also known as the Ruler of Heaven. During the Shang and Zhou dynasties, wizards were the intermediaries between humans and the supreme ruler. They asked for his orders by means of divination and

sānxuán 三玄 Three Metaphysical Classics 《老子》《庄子》《周易》等三部著作的合称。汉代五经之学盛行，魏晋时期思想大变，《老子》《庄子》《周易》为学者所关注。经由何晏、王弼、向秀、郭象等人的注解，这些经典被赋予了新的意义。“三玄”既是魏晋名士清谈的中心内容，也是玄学家借以发挥自己哲学思想的基本素材。“三玄”之学集中探讨了个体生命与外在世界之间的矛盾，也充分展现了儒家和道家思想之间的冲突与互补。 The term refers to three metaphysical works: Laozi, Zhuangzi, and The Book of Changes. During the Han Dynasty, the study of the Five Classics was the prevailing trend; but during the Wei and Jin dynasties, the way of thinking changed considerably. Scholars turned their attention to Laozi, Zhuangzi, and

rénwén 人文 Renwen 指礼乐教化、典章制度，即诗书、礼乐、法度等精神文明的创造以及与之相关的既有差等又有调和的社会秩序。与“天文”（日月星辰等天体的运行状态和规律）相对。也泛指人事，即人类社会的行为、习俗或状态。近代以后，受西学影响，“人文”演变指人类社会的各种文化现象，研究人类社会文化现象的学科称为人文科学。 Renwen (人文) encompasses the cultural and ethical progress created by rites, music, education, codes, and systems as well as a social order which is hierarchical but harmonious. Renwen is in contrast to tianwen (天文), the study of celestial bodies including the sun, moon, and stars. Renwen also refers to human affairs in general, that is,

réndào 人道 Way of Man 为人之道，指人类社会必须遵循的行为规范（与“天道”相对），也是人类社会得以维持和运行的关系及法则。近代以后，西学东渐，它演变为以尊重和关爱人的生命、幸福、尊严、自由、个性发展等为原则的行为规范和权利。 The way of man refers to the code of conduct that people must observe and also the relations and norms that keep human society on the right track. The way of man stands in contrast to the way of heaven. When Western culture was introduced to China in modern

qǔjìnɡ 取境 Qujing (Conceptualize an Aestheric Feeling) 指诗人在诗歌创作中，选取最能表达内心情感的物象并构思符合诗人自己的审美感受的意境。由唐代诗僧皎然在《诗式》中提出。皎然在总结六朝至中唐诗人的创作经验与方式时提出，作诗的时候，要精于构思，立意尽量奇特，不落俗套，在一番苦思冥想之后，灵感迸发、神完气足，才能写出境界上好的诗歌作品。虽然构思险奇，但是最终形成的作品风格要平易自然，不要显露精心思索的痕迹。取境与意境、境界等术语关系密切，属于中国古典诗论中关于“境”的术语系列。 The term means to conceptualize an aesthetic feeling by selecting images that best express a poet’s sentiments and appreciation. The term qujing (取境) was coined by the Tang monk poet Jiaoran in his Poetic Styles. After conducting a review of how poets from the Six Dynasties to the

qián 乾 Qian “八卦”之一，由三个“阳爻”组成，画为“☰”。又为“六十四卦”之一，由六个“阳爻”组成，画为“”。按照易学的解释，由于“乾”卦全部由阳爻组成，因此具有纯阳之性，被用以象征各种阳性的事物或原则。“乾”卦的基本象征意义是天，在社会领域主要象征男性、父亲、君主等社会角色以及刚健有为的行事原则。结合“乾”卦的各种象征意义，“乾”还被赋予了创生、统领万物之义。 One of the eight trigrams, it consists of three yang lines: ☰. It is also one of the 64 hexagrams when it consists of six yang lines:. According to scholars on The Book of Changes, as the qian trigram is composed only of yang lines, it is purely yang and is thus