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Introduction: Emotion, Patterning, and Visuality in Chinese Literary Thought and Beyond

Emotion or qing 情 has been identified at the core of Chinese thinking about literature, such that “lyrical tradition” becomes an encompassing concept for many to distinguish Chinese literary tradition from itsWestern counterpart. In Chinese literary thought, emotion is consistently conceptualized through verbal patterning and visual manifestation. This convergence has become synonymous with poetry making: emotion externalizes itself in patterned sounds and words, and this language patterning in turn gives rise to visual manifestations, whether in the play of music, the spectacle of dance, or an image of the external worlds of man and nature. Perhaps in no other critical tradition can we find a conception of poetry making so consistently and thoroughly grounded in such a dynamic interplay and merging of emotion, verbal patterning, and visualization. In exploring the inner dynamics, however, Chinese critics have long emphasized language at the expense of nontextual visuality as a supplemental emotive medium, despite a steady increase of literati interest in integrating poetry with painting and graphic illustrations since the Song. Likewise, we find a conspicuous neglect of emotion in Chinese art criticism. The term qing 情 (emotion), preeminent in poetry criticism, barely makes the list of essential terms in painting and calligraphy scholarship. As our modern world is increasingly dominated by visual media, neither the neglect of nontextual visuality in poetry scholarship nor the marginalization