Abstract
ABSTRACT Qiyun shengdong气韵生动, the first of the six canons of painting (Lu Fa六法) laid down by Hsieh Ho in the late fifth century, had been made known to the Western art criticism in the early twentieth century and has aroused great enthusiasm ever since. By examining the 19 translations of Qiyun shengdong by different Western art critics, this paper endeavours to delineate the reception and dissemination of this classic Chinese aesthetic notion in the West and analyse how it had contributed to the development of the modernist critical theory, of both painting and literature, especially the discussion of artistic rhythm and vitality.
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