气韵 (qìyùn) is arguably one of the most important terms in the history of Chinese aesthetics. Its significance comes from the “Six Principles of Chinese Painting” (绘画六法, Huìhuà Liùfǎ), established by the 5th-century art critic Xie He (谢赫). The very first and most crucial principle is 气韵生动 (qìyùn shēngdòng), meaning “Spirit Resonance, life-motion.” This principle states that the ultimate goal of an artist is not to create a photorealistic copy of the world, but to capture the qi—the essential life force and energy—of the subject. A painting of a mountain should convey the mountain's grandeur and timelessness; a painting of bamboo should show its flexibility and resilience. This pursuit of inner essence over outer appearance is a core tenet of traditional Chinese art. Comparison to a Western Concept: While there's no perfect equivalent, 气韵 (qìyùn) can be compared to the French phrase “je ne sais quoi” (“I don't know what”). Both describe a captivating, intangible quality that can't be easily defined but is strongly felt. However, 气韵 is more specific; it is directly tied to the philosophical concept of 气 (qì) as a universal life force. While “je ne sais quoi” is a mystery, 气韵 is a presence—the presence of life and spirit.
While its roots are in classical art theory, 气韵 is very much alive in modern Mandarin.