"Charm" was first used to evaluate characters, especially people's spiritual temperament and appearance fashion; Then transfer to painting theory to discuss the influence and significance of the author's ideological character on the formation of artistic style of his works. During the Southern and Northern Dynasties, Yun Qi was applied to the field of fine arts as a formed category. Fine arts was the core category of China's painting theory, and then it was gradually used for reference in literary theory. In the history of ancient aesthetics in China, Sheikh clearly put forward the category of "verve" for the first time: in the Catalogue of Ancient Paintings, he put forward six painting methods, which were praised as "eternal difficulties" by later generations-vivid verve, brushwork, pictographic images, band-like color, operating position, transfer and modeling. China's theory of "verve" in painting is as important as China's theory of "artistic conception" in poetry aesthetics. "Vivid charm" constitutes the traditional value scale and fundamental aesthetic requirement of China's painting art, and charm is the central category of China's painting art noumenon.

In ancient aesthetic theory, the category of "Yun Qi" was formed by the historical combination of two concepts, and "Qi" was the dominant aspect of this category. The evolution of the concept of "Qi" in aesthetics has a development process from the original meaning of philosophical universe life to the ontological meaning of artistic life. The original meaning of "qi" is visible and tangible smoke, cloud gas, steam, atmosphere, fog, cold and warm air, breathing air and so on. But from the very beginning, China people linked Qi with life, which became the original category of China's philosophy. This has been said in the previous article, so I won't repeat it here. It should be pointed out that according to the principle of "goodness" of human nature, Confucianism interprets "Qi" as the internal cohesion of a certain personality spirit and moral cultivation, such as Mencius' theory of "nourishing Qi", which emphasizes the moral and ethical content and the personality cultivation of the subject. Taoism interprets "Qi" from a completely different angle, while Laozi and Zhuangzi interpret "Qi" as a regular display of the inherent unity of human and natural life movements according to the way of natural life. Only in Taoist philosophy can qi have the ontological significance of the origin of life in the universe. In Taoism's view, Qi is the corresponding product of the sense of rigidity and softness of all things in the universe, and it is the display of the unified movement of natural life, that is, the display of the way of natural life. From the ontological point of view of natural life, Taoism interprets "qi" as the source of life and the intermediary of the unity of subject and object, man and nature. Later, Wang Chong of the Han Dynasty developed the Taoist theory of Qi from materialism, put forward the famous proposition that "heaven and earth are in harmony with Qi, and everything is born by itself", and founded the theory of Qi, which had a great influence on China's philosophy and aesthetics. [1] The theory of primordial energy combines the relationship between heaven and man with material primordial energy from the cosmological height, emphasizing the natural primordial energy, the essence of man, the man-made qi from heaven, and the blending of matter and mind. It is under this premise that the universe, man and literature are closely linked: the universe is endowed with vitality, man is endowed with vitality, and literature (art) is born. As a result, the categories of Qi of creative ontology and Qi of literary ontology were introduced one after another. [2] Taoist philosophy is the dominant social trend of thought during the Wei, Jin, Southern and Northern Dynasties. The unprecedented development of aesthetics in Wei, Jin, Southern and Northern Dynasties was deeply influenced by Taoism. Yun Qi's Qi originates from Taoism, not Confucianism. Its philosophical basis is the "theory of vitality" in Han dynasty, not the "theory of literary spirit" by Cao Pi. Charm can not be separated from the creation of the subject, and the universe and literature can only communicate through human contact. "Wen Qi" is both the source of vitality and the subject of charm generation, which shows that there is a relationship between them: vitality-Wen Qi-Yun Qi. However, this does not mean that the philosophical basis of "Yun Qi" in Wei and Jin Dynasties was "metaphysics". At the end of the Eastern Han Dynasty, the ruling group split and the social crisis became increasingly acute. Confucianism, which is dominant in ideology, began to shake, and the contents of Confucian classics and divination were empty and absurd, which did not help solve social problems at all. Laozi and Zhuangzi began to rise with the ideas of "nature" and "inaction". The Tales of People, written by Liu Shao at that time, combined Taoist thoughts with the thoughts of famous scholars and legalists, and raised the general principles of judging characters to the philosophical level for discussion. As the fundamental study of Confucianism, the Book of Changes, at this time, because of its obscure meaning, it is necessary to re-explore the Book of Changes. Metaphysics thought in Wei and Jin Dynasties appeared under the background of the development of social politics and academic thought. Mr. Tang Yongtong once emphasized in "On Metaphysics in Wei and Jin Dynasties" that the basic clue to understand Metaphysics in Wei and Jin Dynasties is to grasp its "reason without the theory of Chinese universe". This sentence tells the fundamental difference between metaphysics in Wei and Jin Dynasties and cosmology in Han Dynasty, that is, the transformation of metaphysics from cosmology to ontology. The cosmology of Han dynasty mainly focuses on the generation and evolution of the universe. It takes qi as the starting point of creation of all things, and advocates that qi can be divided into yin and yang. Yin and yang promote the operation of the five elements because of their internal functions, which have four seasons and four directions, thus achieving the universal structure of heaven, earth and man. Metaphysics, on the other hand, doesn't talk about the structure of the universe or the generation of nature, and doesn't ask how the Yin and Yang elements are arranged and organized to form the biochemical flow of the universe. Wang Bi, the main founder of metaphysics, is not satisfied with his understanding of what is happening. He advocated exploring its ontology directly through the universe, thinking about the basis of its existence, and put forward a theory centered on discussing whether there is a problem or not. The phenomena of all things are "end", the ontology of the universe is "nothing", and everything is the external expression of the ontology of the universe. "Nothing" is not a thing, so the concept of transformation of Yin-Yang and Five Elements from "one breath" is useless to "Nothing". It is precisely because "nothing" transcends "qi" that metaphysics has turned from cosmology to ontology. [3] It can be seen that the "Qi" of "Yun Qi" comes from the "vitality" in the sense of cosmology rather than the "nothingness" in the sense of metaphysics ontology, and there is a great difference between them, which must be clarified as the philosophical basis of "Yun Qi".

The evolution of the concept of "rhyme" in aesthetics also has a development process from "rhyme" with harmonious significance in music form to "rhyme" with inherent interest in all arts. [4] Rhyme and Guangya said, "Harmony." Xu Xuan, a Song Dynasty man, added the "new attached" part of Shuowen, also known as "rhyme and harmony". Both refer to the rhythm and harmony of sound, that is, rhythm and melody. There is no "rhyme" in pre-Qin documents, and there is no "rhyme" in inscriptions and inscriptions in Han Dynasty. In the third episode of Cai Zhonglang's Collection by Cai Yong at the end of Han Dynasty, the recitation of playing the piano, "Restraint of complex strings, elegant rhyme", or the beginning of the rhyme word seen today. At the turn of the Han and Wei Dynasties, Cao Zhi's "Ode to the White Crane" and "Listening to the Clear Rhyme" have the same effect, as well as the rhythm and melody. In the Jin Dynasty, "Yun" evolved into "Yun" and "Shen Feng" of the characters who tasted algae. The demeanor and attitude of the characters' words, manners, sounds and appearances were always commensurate with "Yun". But at the same time, the meaning of "rhyme" related to music still exists. Ji Kang's "Fu Qin" refers to the rhythm and melody of sound. Since then, the same is true of the "rhyme" proposed by Liu Xie of Qi Liang: "Different sounds correspond to harmony, and the same sounds correspond to rhyme." In the Six Dynasties, the dual meanings of "rhyme" coexisted, either referring to musical rhythm or spiritual charm. [5] Therefore, from the meaning of "rhyme", it originally refers to the rhythm of sound, and developed to the Wei, Jin, Southern and Northern Dynasties. "rhyme" is often used to describe the charm and appearance of characters. The meaning of "rhyme" shifts from sound rhythm to expression, which is based on the existence of formal laws and the emotional form or "gestalt" presented to the senses by aesthetic objects. The isomorphism and communication between phonological harmony and life rhythm must be based on * * * as a contact intermediary. In the west, it is a "gestalt" from physics and psychological science. In China culture, intermediary is a vast "qi". Because of the duality of matter and spirit, "Qi" makes the phonology comparable to the metaphysical realm of life without being far-fetched, which makes everything bear the color of life and makes heaven and man full of vitality. Between things and me, money is harmonious [6] In the eyes of the ancients, the rhyme of qi is like the rhyme of sound. It can be said that in Yun Qi, qi is consistent, rhyme is born of qi, qi is formed by rhyme, and qi and rhyme are integrated and inseparable. Thus, rhyme is the rhyme of qi, that is, the rhyme of qi.

Charm, as an aesthetic category, was put forward by Sheikh of Southern Qi Dynasty on the basis of Taoist aesthetics, summing up the creative experience of highly developed painting art since Wei and Jin Dynasties. It is the most accurate, concentrated and profound summary of the aesthetic characteristics and basic spirit of China's painting art, and is sought after by painters and painting theorists in past dynasties. In the Catalogue of Ancient Paintings, he put forward six painting methods, which were praised by later generations as "eternal difficulties"-vivid charm, brushwork on bones, pictographic characters as objects, color with classes, manipulation, shape shifting and modeling. In the Southern Dynasties, Liang Xiaozi wrote "Biography of Southern Qi Literature" and pointed out: "The writer is the weather vane of love and the law of God. Yun Si is rich in knowledge, roaming in his heart, speaking freely, and has a natural charm. I don't want to cling to life, but I love life. I have the opportunity to see different things and enjoy all kinds of things. " Zhang Yanyuan, a famous aesthetic historian in the Tang Dynasty, gave full play to Sheikh's theory of six methods in his first systematic and complete general history of China's painting art-Notes on Famous Paintings of Past Dynasties, and emphasized that painting should be based on charm. He wrote brilliantly in the book: "If the charm is not good, the form is empty, the brushwork is not good, and the color is empty, it is not wonderful." He also said: "Today's paintings are shaped into unattractive shapes. If you look for their paintings to be attractive, they will look like the middle shape. " Hao Jing, a famous landscape painter of the Five Dynasties, said in his painting theory Calligraphy, also known as Painting Landscape: "Once, he happened to come out of the mountain and met an old man, from whom he learned the secret of painting landscape painting. He developed his own artistic theory through the mouth of the old man, who told him that painting has six necessary conditions:' first, qi (spirit), second, rhyme (rhyme), third, thinking (environment), fourth, scenery (scenery), fifth, pen, sixth and ink.' This is more logical than Sheikh's "six laws" and follows a series of theoretical orders, such as mind, expression, composition, loyalty to nature (scenery) and technology. It is also to put "Qi" and "Rhyme" in the first place. In the mid-Northern Song Dynasty, painter and poet Wen Tong said in Poems on Paintings: "There are two camels in the middle, which have a good charm." In the Southern Song Dynasty, Chen Shan also said in the first volume of his book "The New Theory of Qin lice": "The article is mainly verve, although it has rhetoric, it is not brilliant." Tang Fu's On Painting in Yuan Dynasty said: "laity talks about painting. I don't know the magic of brushwork, but first of all, it refers to the shape. The shape is also a layman's opinion. " "The way to look at painting is to look at the charm first, then at the brushwork, bone method, position, coloring, and then the modeling. These six methods are also. " [7] Xiang Mu in the Ming Dynasty said in the book "Elegant Words": "The deified person is also spontaneous and vivid." In the Qing Dynasty, Fang Xun said in his "Painting Theory of Mountain Quiet Residence": "Vivid charm is the first meaning, but it must be based on qi, full of vitality, and there is no stagnation in the machine, and the rhyme is vivid." Contemporary Huang Yue wrote "Twenty-four Paintings and Charm", saying: "The six methods are difficult, the charm is the most, the idea is the first, and the beauty is outside the painting, like a wooden wife string and smoke." It can be seen that charm plays an important role in literary works. [⑧]

However, many scholars confuse Xie's "verve" with Gu Kaizhi's "vivid verve" or regard it as the same strain. In fact, although Xie's "Vivid Charm" is related to Gu Kaizhi's "Vivid Charm" in artistic theory and aesthetic thought, it emphasizes the inner eternity and absoluteness of the spirit beyond the world and form. As a court painter, Sheikh did not ignore the expression of "God", but what was more prominent was the vivid description of the body movements and postures of objects. Therefore, he praised "the body rhyme soared and the style floated"; "Persistent emotional charm, witty and skillful pulling" and other artistic expressions. Sheikh changed Gu Kaizhi's "vivid" into "verve", demanding a more comprehensive performance of the characters. Its most remarkable point is to emphasize posture and inner beauty embodied in people's external forms. It is precisely because of such a problem of formal beauty that the later "rhyme" developed into a formal vocabulary in an all-round way. Mr. Zong Baihua once concluded in Aesthetic Walking: "The theme of Chinese painting is' the rhythm of life', or' the rhythm of life'." "Vivid charm" is aimed at figure painting, but it also contains the general principles of Chinese painting creation, thus becoming an important proposition in China's traditional art aesthetics. On this basis, Mr. Zhang [⑩] further proposed that verve originated from verve (not vivid), which is an extension of verve from philosophy to literary aesthetics. Charm comes from fate, and it can also be seen from the "communication" between the two. The idea of "vacation" was announced by Mr. Yu in advance: just like "martial arts" in ancient reality and "dance" in art, their similarities in words show the same relationship between them; The figurative word "rhyme" in the aesthetics of the middle ancient people was once associated with the figurative word "rhyme" in the aesthetics of literature and art [1 1] In ancient times, the word "rhyme" took "yuan" as the phonetic symbol, and in ancient times, "yuan" and "rhyme" belonged to box letters and literary parts, that is to say, these two words were homophones in ancient times. "Rhyme" and "Rhyme" both belong to the three-level polyphony of Zhenshe Estuary in the Middle Ages, and they are both mica characters with homonyms [12]. In this way, "rhyme" can communicate with "yun", which is entirely based on phonology. In addition, there are also false examples of "member" and "luck" in ancient and medieval literature, such as "Mozi Secret Affairs": "If words are meaningless, they are better than Yuan Jun." Sun Yirang's "Mozi Idleness": "member, the last part is called" luck ",and the sound and meaning are similar. Another example is Shan Hai Jing ·Xi· Shan Jing: "It is a mountain, and its members are hundreds of miles wide. "'member' means' vertical', that is, the length of north and south." Yuan can communicate with Yun, which takes Yuan as its phonetic symbol, so Yun can certainly communicate with Yun. Therefore, the relationship between "rhyme" and "luck" is based on both phonology and literature. As a proper noun, Yun Qi, also known as Qihua, can be found in Wang Fu's "On the Training of a Latent Husband" in the Eastern Han Dynasty: "Although moving, it is also sincere. If he has changed, why not? "Everything changes because of fate, and fate is the foundation of the universe." Cloud, Guangya Interpretation IV and Zhuan Ye. " Cloud, Hui and Huan are homologous. As a verb, it refers to repeated circular motion. There is a sentence in Ban Gu's You Tong Fu that "Hunyuanyun logistics is everywhere", and Ban Zhao (Cao Dajia) notes: "Hunyuanda; Yuan, Qi also; Transport, turn also; Everything is everything. Words are full of vitality, never have self, such as water, and can't be alone. " "Surrounded by vitality, there is always no self-nature", relying on the combination of yin and yang, two qi, "one yin and one yang, that is, the way. "Yin and Yang are' Dali in heaven and earth', which summarizes the rhythm and harmony of the movement of all things in the universe." After a long time, the moon will come, and the sun and the moon will push each other. It's summer when it's cold, it's cold when it's summer, and it's old when it's cold. (The Book of Changes Shaq) When Yin and Yang became easy to communicate, they penetrated the sun and the moon, unifying matter, movement, time and space. The cycle of the four seasons and the alternation of the sun and the moon are the manifestations of the rhythm change of Yin and Yang, while time is the constant expression and measurement of the rhythm change of Yin and Yang. [13] According to this, qi transport is essentially the harmony of the rhythm of everything in the universe inspired by Yin and Yang, that is, the charm of nature. Sheikh's charm is the creation of the artist's pen, and the picture is in sync with everything in the universe, which is a harmonious expression of the rhythm of qi and is based on the natural charm. Thus, fate extends to literary aesthetics.

In China's ancient aesthetics, the category of "Yun Qi" embodies the essence of China's ancient culture. Different from the theoretical form of western aesthetics that pays attention to logical thinking, it pays more attention to understanding and expressing the metaphysical meaning and spiritual outlook of aesthetic objects with intuitive and perceptual cognitive methods. The aesthetic interpretation of the aesthetic object "Yun Qi" is not only the externalization of the subject spirit, but also the poetic presentation of the universe ontology in China culture. In China's vast aesthetic thought, verve is inextricably linked with other categories; In the history of world aesthetics, there are also many comparable categories. [14] Mr. Wang Qingwei concentrated on sorting out these Chinese and western aesthetic categories related to "Yun Qi" in "Comparison of Yun Qi and Related Aesthetic Categories". [ 15]

Verve and verve are in the same strain, both of which first appeared in Sheikh's paintings. "Charm is powerful, but this is only one aspect of the concept of charm. There is no philosophical height of ontology in the connotation of verve and the internal tension of the concept composed of ontology and presentation form. Charm requires the cognition and expression of the origin of all things in heaven and earth, where "rhyme" refers to the world schema in which the "qi" of heaven and earth flows; It is a deep sense of life and history led by the world outlook based on qi. Charm is only about the subject, and this "rhyme" is only a style charm that embodies the spiritual connotation of the subject. It involves subject and formal factors in connotation, which is equivalent to the rhyme in Charm explained from the perspective of subject qi. Only paying attention to the artistic communication of the subject's personality spirit has not yet reached the grand view of the world and the display of masculine style at the time of the unity of man and nature. Verve pays more attention to the integration of poetry and painting. " The theoretical composition of verve theory lies in the fusion of two artistic laws of poetry and painting.

Although there is no difference between verve and artistic conception on the philosophical level (it has been discussed in a special chapter and will not be repeated here), artistic conception focuses on conveying the image outside the image and the taste outside the taste; What is presented to the viewer is not an isolated object, but the whole picture of the universe life born from a limited "real image". However, the artistic conception is intended to express the emotional imagination that emphasizes the artistic image, emphasizing the implication and emotion of its indirect feelings, and is an aesthetic imagination space that combines virtual reality with thinking and environment. Charm is an artistic intuitive feeling obtained under the cosmology of "Qi", which emphasizes the charm of artistic works in expressing the vitality of the universe and the qi of the main life, and also shows a magnificent, broad, profound and powerful creative and emotional power in the original style. Artistic conception emphasizes emotion and imagination, while verve emphasizes intuition and expression. The two communicate and overlap with each other, but each has its own emphasis. The initial connotation of artistic conception (the realm of what is known) is even just a fragment in the development of verve (Tang and Five Dynasties). Therefore, it is not appropriate to take the category of artistic conception as a whole to control ancient aesthetic thoughts.

Charm and spirit are also a group of similar conceptual categories. The concept of form and spirit came into being earlier, and the problem of form and spirit was put forward in the pre-Qin and Han dynasties. However, before the Wei and Jin Dynasties, it was still limited in the philosophical sense, and form and god were regarded as the relationship between spirit and body, consciousness and existence. In the figures and articles of Wei and Jin Dynasties, the problems of form and spirit stand out. The philosophical basis of form and spirit is the theory of vitality and personality ontology in Wei and Jin Dynasties. The "spirit" of form and spirit is the "qi" as the personality noumenon in personality algae, and "shape" is only the natural external form of characters. The "rhyme" of personality algae can only be formed through the internal presentation of "spirit", but compared with the rhyme of "rhyme", it lacks the artistic materialization process.

The category of Xiangxing has the suggestive characteristics of primitive symbols, poetic thinking mode and dialectical relationship between content and form, which is very similar to Yun Qi's characteristics and can be traced back to the same conceptual level. "Xiang" and "Xing" are the two oldest meta-categories in China. "Image" originated from Zhouyi and Laozi, and "Sex" originated from The Analects of Confucius, which are two important categories of Confucianism and Taoism respectively. Staring is the result of the historical evolution and aesthetic integration of these two categories. Image originally refers to divinatory symbols, which is a symbol of "image of heaven and earth". From the aesthetic image of the Southern and Northern Dynasties to the artistic image of the Tang Dynasty. Xing also developed from the aesthetic feeling in the pre-Qin dynasty to the artistic techniques in the Han dynasty (such as bi xing) and then to the interpretation of aesthetic implication after the southern and northern dynasties. However, as far as the way of artistic image is concerned, Xiangxing is an image produced by "the excitement of touching things", which is produced in the unity of subject, object and scene. It can arouse the will, arouse the aesthetic association and stimulate the blending of things and me in the scene. And verve is more of an aesthetic effect, which is the essential intuition of metaphysical meaning conveyed by artistic images. Staring at the stars is an intention that can stimulate aesthetic association, while verve depends on the intuition of form. The aesthetic feeling of harmony between man and nature and integration of all things obtained from external objects is full of profound understanding of the universe and life.

In the west, charm and its "life perfusion" have many similarities. As an artistic concept, "life perfusion" has a long history in western aesthetics. It can be said that after Aristotle introduced the concept of "organic whole" into art theory, this concept has begun to be nurtured in western aesthetics. Goethe put forward this view in his earlier conversation with ekman, saying: "Art should speak to the world through a complete whole. But this wholeness is not what he can find in nature, but the fruit of his own mind, or the result of a fruitful sacred spirit. " [16] Goethe believes that artists should give their works vivid artistic life in their creation, and to do this, they must create a whole that can show their characteristics. He also said: "Man is a whole, a unity of many interrelated abilities. Works of art must talk to the whole mankind and adapt to this rich unity and this single mixture. " [17] The so-called distinctive whole is a living whole full of life, which is the unity of subjectivity and objectivity, sensibility and rationality. A work of art with the characteristics of "life perfusion" can reflect the organic and integrity, and has the inherent law that all parts are interdependent and complementary. Hegel also said: "When we meet a work of art, we first see what it directly presents to us, and then examine its meaning or content. The former factor-external factor-is valuable to us, not because it is directly presented; We assume that there is something inside, that is, a hint, a hint to inject life into the external form. " [18], "In this process of combining rational content with realistic images, artists should turn to their ever-awake understanding on the one hand, and their deep-seated anger on the other." [19] Anger mentioned by Hegel not only belongs to the artist's subjective emotion, but also leads to the absolute mind. Such artistic creation presents metaphysical noumenon through subjective mind. It can be seen that "filling life" is to shape the object through the subject, so that the object presents a certain perceptual representation, and the root of "life" lies in the metaphysical ontology, that is, the idea. It seems that "life perfusion" is very similar to vivid charm, and both require ontological meaning and perceptual representation in works of art; However, Hegel's "life perfusion" is for artistic beauty. He does not admit that there is beauty in natural forms, and thinks that only through artistic creation can ideas be presented as perceptual forms. In China's ancient aesthetics, natural scenery, such as landscapes, flowers and birds, are permeated with the image of qi under the subject's aesthetic view, which embodies the mighty origin of everything in the world; Through the artistic processing of the creator, the charm of nature is transformed into the charm of art, and the great beauty of heaven and earth is displayed in the small square inch of a mountain, a stone and a tree of works of art. Hegel's description of the relationship between man and art shows the mechanical side of western rational thinking mode, that is, the complicated aesthetic psychology is forcibly separated by the thinking formula of academic division, and the factors of cognition and desire are excluded, thus simplifying the aesthetic psychology cumbersome. In contrast, the poetic thinking in China's aesthetics is closer to the original appearance of aesthetic psychology, and the vivid artistic effect is much richer and more vivid than "angry perfusion".

In the category of oriental aesthetics, Indian "Rhyme Theory" [20] is the closest to "Yun Qi" in artistic concept, and its philosophical height and artistic perception characteristics are very prominent. There are also various similarities. Rhyme theory plays a very important role in Indian poetics. As far as its occurrence is concerned, it is the product of the combination of poetic artistic experience summary and linguistic research results, and has a profound linguistic and philosophical foundation. The main purpose of rhyme theory is to emphasize the suggestive role in poetry, and to divide poetry into three grades based on this standard: rhyme poetry (suggestive meaning plays an important role), poetry supplemented by rhyme (expressive meaning plays a major role, suggestive meaning is supplemented) and painting poetry (lacking suggestive meaning), among which rhyme poetry is the best and painting poetry is the worst. ānandavardhana believes that the talent of poets can be brought into full play only by rhyme and supplemented by rhyme; To express the meaning of ancient poetry by means of suggestion can still gain freshness. Moreover, the change of poetry content is infinite, not only the change of implied meaning, but also the change of expressive meaning. "Even the pure expression of meaning will naturally show infinity according to the particularity of situation, place and time." This "particularity" also includes the anthropomorphic description of mountains and rivers. Generally speaking, Indian rhyme theory has a profound philosophical and linguistic foundation. From his understanding of the original meaning of the word "constant sound", we can see the shadow of Kant's "thing itself", the identification of phonetic semantic relations, the implied meaning of rhyme in poetics, and the inherent similarities with China's aesthetics, such as "forgetting the word with pride" and "forgetting the shape with similarity". Its philosophical foundation is similar to western language ontology, and it has clearer theoretical form, more rigorous rational thinking mode and full artistic self-sufficiency than Yun Qi. Because of the combination of rhyme theory and the "taste" theory of Indian drama theory, its emotional characteristics are also very distinct. However, it does not have the strong ethical spirit and life consciousness in the connotation of verve, nor does it have the spirit of "harmony between man and nature" as the cultural keynote, nor can its artistic creation present the universal artistic conception and subject vitality in China's aesthetics.