In the discussion of how an image functions as an image, in the third section, we derive imagery through bi (comparison) and xing (evocation). Objectively speaking, bi and xing are primarily expressed through poetry, songs, and literary compositions. In the Book of Songs, fu (narrative exposition), bi, and xing represent three techniques, which in turn give rise to three distinct styles. Xu Fuguan compared the fu, bi, and xing of the Book of Songs with the “three types of discourse” used in the Zhuangzi. What are these three types of discourse in the Zhuangzi? Fables, repeated words, and goblet words.
Xu Fuguan, who wrote The Spirit of Chinese Art, is someone I highly recommend. If you study calligraphy, you should probably read at least two books on aesthetics: one is The Spirit of Chinese Art by Xu Fuguan, which I think requires careful study, and the other is The Path of Beauty by Li Zehou. The others are optional. Their writing style adopts a philosophical approach to life, making their works feel warm and engaging rather than purely dry academic texts.
What are fu, bi, and xing in the Book of Songs? Fu refers to parallelism. For example, take the Preface to the Pavilion of Prince Teng, right? However, fu can be divided into two types: Han-era fu, which emphasizes antithesis, and literary fu. Who created literary fu? Su Shi’s First Ode on the Red Cliff is an example. The work that best combines both types is Wang Bo’s Preface to the Pavilion of Prince Teng. This fu technique is like “forcing oneself to speak of sorrow to compose a new verse,” as Xin Qiji wrote. Fu serves as铺垫 (layering), continuously building up until the emotion naturally emerges.
Bi means making comparisons, using symbolism and metaphor. Xing refers to evoking emotion.
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