In late Ming and early Qing ancient poetry criticism, Wu Qi and Chen Zuo-ming devoted significant attention to the exploration of function words related to Wu Se, particularly when these words were employed as verbs, adjectives, or adverbs. Their discussions emphasized the depiction of objects’ intrinsic states, revealing an aesthetic sensibility that expanded the relatively limited perspectives of earlier dynasties.
Chuan-shan’s notion of “depicting light and qi” emphasized the representation of intangible elements. Wu Qi expanded on this by deeply exploring the physical aspects of the intangible, while Chen Zuo-ming, with his advocacy for “capturing traces of the intangible,” focused on virtualizing concrete imagery, marking him as the most committed to the study of intangible elements.
Extending this discourse to “the delight in Wu Se” and “the emotional resonance of merging emotion and scenery,” from Chuan-shan’s discourse, it can be seen that intangible elements are the key to enlivening external landscapes and facilitating the fusion of emotion and scenery. Wu Qi offered detailed analyses of the synchronic fluctuations between intangible elements and emotional expression. Chen Zuo-ming, with his insistence on always incorporating intangibility in descriptive writing, fully revealed the layers of emotional evolution and transformation.
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