"Comment on Poetry by Taste" is an eternal quip in China's ancient literary theory. Lu Ji started from it. He criticized five shortcomings in literary creation at that time. Fifth, the palace is quiet and lacks real flavor. There were successors after Lu Ji, and great literary critics such as Liu Xie, Zhong Rong and Si Kongtu put forward theories such as "taste theory" and "interest theory", which enriched and developed the theory of "interest". Since the publication of Ouyang Xiu's poems on June 1 Day, poetic style has gradually become one of the main forms of poetry criticism. Among them, poems are different in taste, and clever metaphors are as beautiful as pearls. During the Yuan, Ming and Qing Dynasties, there were hundreds of works on poetry, and the theory of poetry tended to be theoretical, but the metaphor of poetry with taste still shone brilliantly. Wang Shizhen's verve theory in Qing Dynasty was directly influenced by it. Today, the famous scholar Mr. Zhou has made new progress in describing poetry with taste. The meaning of "taste" in Chinese is roughly the same as that of "amta" in Mongolian. "Taste" is interpreted as (1) taste in Ci Yuan; (2) A kind of food is called blindness; (3) taste discrimination; (4) Significance and theme [1]. "Taste" in poetics refers to meaning, purport and emotional interest. In 17 17's Twenty-one Dictionaries, "amta" ("taste") is interpreted as "salty, bitter, sour, spicy and sweet" and "delicious food or pleasure" [2]. "amtatai" is interpreted as "delicious" in the 28-volume dictionary. The teachings and knowledge of wise men and sages, said anecdotes [3]. Therefore, the "taste" of Chinese can be translated into "amta" of Mongolian. The "taste" in poetics has lost its physiological significance and become a symbol to evaluate aesthetics and emotion. Commenting on poetry by taste is an eternal quip in Korean classical poetics. Lu Ji started from it. He criticized five shortcomings in literary creation at that time. Fifth, the palace is quiet and lacks real flavor. There were successors after Lu Ji, and great literary critics such as Liu Xie, Zhong Rong and Si Kongtu put forward theories such as "taste theory" and "interest theory", which enriched and developed the theory of "interest". Since the publication of Ouyang Xiu's Poem on June 1st in the Northern Song Dynasty, the poetic style has gradually become one of the main styles of poetry criticism. Among them, poems are different in taste, and clever metaphors are as beautiful as pearls. During the Yuan, Ming and Qing Dynasties, there were hundreds of works on poetry, and the theory of poetry tended to be theoretical, but the metaphor of poetry with taste still shone brilliantly. Wang Shizhen's verve theory in Qing Dynasty was directly influenced by it. Today, the famous scholar Mr. Zhou has made new progress in describing poetry with taste. Zhong Rong's sycophantic five-character poems have two purposes: one is to oppose the formalism of sound sickness and allusion popular in poetry circles at that time; The second is to summon "Jian 'an style" and praise the artistic merits of five-character poems. This fully shows Zhong Rong's artistic view and artistic pursuit. He believes that "in Taikang, Sanzhang, Erlu, Erpan, Yizuo and Bohr revived. They followed the former kings of Wu, and the romance did not foam, which was also the resurgence of the article. In Yongjia, Jian 'an's poetic style gradually declined, which was "yellow and old, but a little empty talk" [4], and then "Jian 'an's poetic style was clear and clear, and his writing style was brilliant" [5]. In this regard, Zhong Rong criticized the formalistic situation that advocated "reason" but ignored "word" and advocated rhythm and ignored "taste" in the poetry circle at that time. In his view, one of the reasons why five-character poems have a "taste" is that they describe objects and express emotions in a meticulous and profound way, such as "referring to things and making shapes, writing things but feeling poor and being the most meticulous" [6]. The second reason is that the five-character poem emphasizes Fu, Bi and Xing, which can achieve a far-reaching goal and a clear image, such as "So, the poem has three meanings: one is Xing, the other is Bi and the third is Fu. "The text is full of meaning, but also prosperous; Because things are metaphorical, they are better than others; Straight book, fable writing, fu also. Red thinking and three meanings, use it as appropriate, blow dry it with wind, moisten it with Cai Dan, make those who taste it infinite, and those who smell it tempted, which is the ultimate of poetry "[7]. From the above conclusions, we can see that Zhong Rong's "interest view" involves the imagery of poetry and the poetic realm of "writing is full of meaning". "What words do exceeds meaning" can be understood as transcending the meaning of language or the artistic realm behind language.

Zhong Rong praised Cao Zhi, RoyceWong, Serina Liu, Ruan Ji, Pan Yue, Zhang Xie, Xie Lingyun, Lu Ji and Zuo Si. The reason is that they don't quote allusions and pursue rhythm when writing poems, but advocate the perfect combination of heart and matter, emotion and scenery, and convey feelings through scenery, which is the artistic pursuit requirement of "meaningful writing". Zhong Rong's view that "what he has written is more than his meaning" is in the same strain as Jiao Ran's thoughts of "only seeing feelings, but not words, covering the extreme of poetry", "the purport outside the text" [8] and "poetic love" [9]. Jiao Ran is the founder of the theory of artistic conception in Chinese poetry. He once put forward the proposition of "endless feelings". The so-called "realm" refers to the life scene or picture described in the poem that can express the author's thoughts and feelings. It is an artistic realm formed by the integration of subject and object, and is called "artistic conception" by later generations. Emotion is the essence of art, and art is a way of speaking, a way of recording or expressing emotions and thoughts, that is, the philosophy of emotion. Where there is art, there must be emotion. Susan Langer famously said, "Art is a symbol of emotion" [10]. Democritus, an ancient Greek philosopher, believed that it is impossible to be a great poet without enthusiasm. In Preface to Mao's Poems, "Emotion moves in the middle, but in words, so it is insufficient, so it is sad, so it is often sung." Singing is never enough. I don't know how to dance with my hands or my feet. The exposition of "reciting emotion and taking the wind above it" [12] and Lu Ji's exposition of "poetry is beautiful because of emotion and bright because of objects" [13] both touch on the inseparable relationship between poetry and emotion. Bharata, an ancient Indian drama theorist, defined "taste" as "taste comes from the combination of emotion, modality and uncertainty" and "taste comes from emotion" [14]. These discourses all emphasize the close relationship between emotion and artistic works.

Si Kongtu's interest theory is the integration of Zhong Rong's poetic interest theory. In Talking about Poetry with Li Sheng, he compares the taste of poetry with the sour taste of vinegar and the salty taste of rubbing, and thinks that the taste of food is beyond food, and then discusses the meaning beyond taste and rhyme of poetry. He believes that poems with rich connotations, strong emotions, profound thoughts and beautiful artistic conception have the artistic charm of "being near but not floating, being far and inexhaustible". It can be seen that Tu connects verve with artistic conception and image, and has repeatedly talked about such issues as "the image outside the image", "the scenery outside the scene", "the meaning outside the taste" and "the meaning outside the rhyme". The idea of Si Kongtu is to express the infinite affection outside the poem with the limited scenes in the poem, that is, the poet's affection lies in the language and scenes, but originates outside the language and scenes. This is the artistic way to see the big from the small, the little from the many and the feelings from the image.

The artistic thoughts of Zhong Rong and Si Kongtu directly or indirectly influenced Hasbro, Yin Zhannaxi and other19th century Mongolian literary critics. They accepted Chinese poetry through misreading and misunderstanding, and explained some artistic techniques of Chinese poetry. Hasbro and Yin Zhannaxi praised "Zang Quan is beyond the pen and ink" [15], "If you write too clearly, you will confuse the fake with the real; The artistic pursuits such as "writing too implicitly means from near to far" [16], "conciseness" [17] and "overlapping meaning" [18] are all in the same strain as Zhong Rong and Si Kongtu.

The image outside the image, the scenery outside the scene, the meaning outside the taste and the meaning outside the rhyme advocated by Si Kongtu are interrelated expressions. The image outside the image, the scenery outside the scene, refers to the characteristics of the image of literary works, the meaning outside the taste and the meaning outside the rhyme, and refers to the overtones that literary works can understand but cannot express. What he explores is the mystery of creating a poetic world from the mutual blending, contrast and continuation of things and feelings, the external world and the internal world.

Due to artistic pursuit, life experience, social status, personal hobbies and other factors, Si Kongtu especially emphasized the charm and subtle style in his poetry creation, and highly praised the works of landscape poets such as Wang Wei and Wei, thinking that their works were "elegant and exquisite" [19]. Si Kongtu's masterpiece "Twenty-four Poems" is a monograph on style and artistic conception, which runs through the artistic thoughts of "meaning beyond taste" and "meaning beyond rhyme". In the book, styles and artistic conception are divided into 24 kinds: vigorous, diluted, implicit, thoughtful, lofty, elegant, refined, vigorous, beautiful, natural, reserved, bold, spiritual, meticulous, wild, strange, tortuous, realistic, sad, descriptive, super-conceptual, elegant, broad-minded and flowing. This classification involves style, artistic conception and artistic skills. Si Kongtu used four-character poems to describe and explain these twenty-four poems. This form of discussing poetry by poetry was once popular in the literary creation practice of Mongolian lamas and monks.

"Good use of the external fibula, really rushed into the body. Return to emptiness, accumulate life value and be a hero. Have everything, travel through space. Wild oil clouds, sparse

It is long and windy. Besides the image, you got the ring. If you are not strong, you will come to infinity "[20].

This is the "bold" style described by Si Kongtu. "Outside the image, in the ring" is a concrete description of the image outside the image, the scenery outside the scene, the purport outside the taste and the purport outside the rhyme advocated by the author. The so-called "beyond image", the poet blurs the boundaries between image and meaning, scene and emotion through association, fiction and imagination, and shapes a poetic world in emotional scenes and emotional scenes. Only works with creative artistic realm can reach the wonderful realm of rich connotation, continuous affection, profound thought and more taste.

"The elements are silent and the machine is wonderful. Drink too much, fly alone. The wind in Judah is wasted on clothes. Study and practice, beauty.

Yue zaigui. The deeper the encounter, the rarer it is. Out of shape, shake hands far away "[2 1].

This is the "desalination" style described by Si Kongtu. Among them, "the deeper you encounter bandits, the rarer you are", which embodies the author's artistic proposition. Although "encounter bandits deeply", we can walk into "bandits deeply". Although there is "similarity", "shaking hands is far away", which is an elegant realm. The poet creates a diluted, elegant and fairy-tale poetic realm in his works, and the readers listen to the meaning intentionally or unintentionally, and experience the artistic charm of "meaning beyond taste" and "meaning beyond rhyme". "Dilution" is the style advocated by Si Kongtu. The "diluted" description not only embodies the author's artistic pursuit and artistic proposition, but also shows the hermit's mentality of being born, escaping from the world of mortals and enjoying a leisurely life.

Western literary theory advocates logical analysis, abstract generalization and rational eloquence, while Korean classical literary theory advocates fuzzy expression, image generalization and perceptual knowledge. Poems with vague expressions and generalized images are rich in connotation and contain many ideological highlights. Cao Pi put forward the view that "literature is mainly based on qi, and the turbidity of qi has a body and cannot be forced" [22]. This may be the early visualization of style research. Since then, Lu Ji put forward the view that "the wind is difficult to fly, and the clouds rise from the Hanlin" [23], and Liu Xie also put forward the view that "the spirit is firm and soft, the learning is shallow and deep, the learning is elegant and sincere, the temperament is attracted by it, and the cultivation is condensed by it" [24], and the styles are divided into eight types: elegant and far. Jiao Ran divided the style into nineteen kinds, and Sikong Tu into twenty-four kinds. Poetry is the expression or record of the poet's emotion, and the essence of poetry is described by the poet's temperament. This style research strategy has deeply influenced the description of the writer's style by Mongolian literary critics.

Dandin summarized the poetry styles of Nanshe into ten categories, namely, harmony, openness, unity, elegance, softness, calmness, nobility, magnificence, beauty and analogy. Dandin believes that poetry is the connection of words, and words are composed of sound and meaning. Therefore, his style theory involves phonetic modification and meaning modification. Such as harmony, use light words, but don't feel loose; Clear and familiar with the meaning of words; Similarly, Legato is no different, which is divided into rigid and soft alto, and the poems of rigid and soft alto are all composed of them; Elegant, not only in language, but also in content; There are many words that are not rough or hard, so they are called soft; Easy to solve, no need to think deeply; Say a few words in the sentence, and the noble character will be understood. This poetic style is noble; Magnificence and saving words are the life of prose style, which is called magnificence; Beauty is not outside the world, and beauty makes the world like it; Adding the characteristics of one thing to other things correctly according to world common sense is called analogy [25]. According to the characteristics of poetry & phonetic change and semantic change, Tan Ding divided the poetic styles of that time into southern school and eastern school.

Under the influence of the theory of expressing ambition in Chinese poetry and the idea of communicating ancient Indian poetry, Mongolian literati and lamas gradually formed two theoretical tendencies of poetic style, namely, the author's tolerant poetic style theory and the poetic style theory of works rhetoric. Its brand still remains in the relevant works of contemporary Mongolian poetry style research.

The theories of Zhong Rong and Si Kongtu have influenced later generations, such as Yan Yu in Song Dynasty and Wang Shizhen in Qing Dynasty, and even directly or indirectly influenced many Mongolian writers and literary critics.

Yan Yu put forward the view that "the way of poetry is also wonderful" in his famous poetry monograph Cang Hua [26]. The word "enlightenment" originated from Buddhist terms and later transferred to literary criticism. What is the connotation of "enlightenment" advocated by Yan Yu? First, readers need to "realize" when they taste poetry works, that is, the process of deeply understanding and pondering over predecessors' works; Secondly, poets need to "realize" when creating poems, that is, poetry creation should capture images and handle the relationship between temperament and images. Yan Yu has repeatedly stressed that poetry should be unique, interesting and lyrical. The proposition that poetry should "chant emotion" can be traced back to Shi Mao's Preface, Wen Xin Diao Long and Shi Pin. For example, "Chant about love, take the wind as the top" [27], "literary talent is the reason to decorate words, and beauty is based on love. Therefore, people in love, the classics of the text, the words of the words, the latitude of reason "[28]," but seeing the feelings, not seeing the words "[29] and so on. Since then, the Mongolian poetry theorist Fa Shishan has also put forward the view that "poets also have feelings". In poetry creation, Yan Yu's "Wu Miao" refers to conveying feelings with things and shaping the artistic realm with rich connotations. Once poetry has profound meaning and infinite artistic conception, it will reach the artistic realm of poetry-"ecstasy", "poetry is fascinated, from the end to the end, to the end, to the light" [30]. Poems that achieve "forgetting me" are like "the voice in the air, the color in the phase, the moon in the water, the image in the mirror" [3 1]. This wonderful poem can create an artistic atmosphere of "endless words and endless meanings".

Hasbro and Yin Zhannashi used the word "amta" many times to criticize and appreciate literary works, which gave the word "amta" a lot of cultural information. "amtalahv" is the basic content of Hasbro's aesthetic thought. Professor Bagritu summarized Hasbro's literary and artistic thoughts into four categories: spirit, fu Ben, interest and interest. They understand "taste" as the aesthetic effect and artistic realm of literary works, and use "taste" and "annoyance" to measure the gains and losses of literary works.

First, the truth of arts and sciences: taste (official history)

"The day after tomorrow, readers must read my book carefully, so that it will be easy to understand and interesting. Otherwise, you might as well not read it. For this reason, I wrote this summary and put it in front of this book. ..... Even those readers who don't pay attention to art but just watch the excitement must read these twelve important articles, otherwise those lively scenes are hard to understand "[33].

Here, Yin Zhannaxi believes that the "taste" of official history lies in the truth of arts and sciences, that is, the truth of historical materials. Only when people pay attention to the official history and art can they taste the official history. Therefore, he reminded readers, "If you just want to entertain yourself like reading a romantic novel, it will be boring" [34]. Yin Zhannaxi regards The Romance of the Qing Dynasty as the official history, saying: "This book is not as good as those gorgeous stories that embellish, and it is not allowed to be just interesting" [35]. Mongolian "amtatai" can be translated as "interesting" or "delicious". It can be seen that the "taste" of official history understood by Yin Zhannashi lies in the "truth" of "arts and sciences".

Second, wonder: flavor (poetry, romance, translation)

(A unique legend: You Wei.

"Historical books such as unique legends can be widely spread, and people can't put it down and rush to read them. This is because it has a charming taste "[36].

Here, Yin Zhannashi believes that the "taste" of legendary stories lies in their "unique" stories. Mediocre and trivial stories are tasteless. "So meaningless human story, insignificant, I don't watch. Hard-working people may watch it occasionally. However, in his view, such stories are a dime a dozen, and it is not surprising to be caught red-handed "[37]. Hasbro wrote in Reply to the New Edition of A Dream of Red Mansions, "After reading all the books of gifted scholars, you should pretend to be amazing at the end of each time, so that readers will want to continue reading. This method is used repeatedly, the same, so it is stale and tasteless "[38]. Yin Zhannaxi, Hasbro and others emphasize the uniqueness, uniqueness and singularity of literary works, and think that stories that are usually meaningless, a dime a dozen and monotonous are completely tasteless. If you want an article to be "interesting", you must write it "unique", "unique" and "strange". The key to writing an article "unique", "unique" and "strange" lies in "seeking touch" (Yin Zhannaxi) or "fantastic ideas" (Hasbro). Hasbro believes that "there is a shadow when it is tangible, and the shadow is tangible. "It is unlucky to see no shadow, and it is strange to see no shadow. Gloomy is the taboo of the article, and strangeness is the strangeness of the article [39], which further discusses the endless connotation of the article. We can summarize Hasbro's ideological system of literature and art as "Miao, Dao, infinity and taste". In Mirror and Lamp-Romantic Literature and Criticism Tradition, Erasmus divided literary phenomena into four categories: the world, writers, works and readers [40]. Hasbro's understanding of the nature of literature is relatively accurate. He took the lead in choosing the word "vran j0hiyal" to summarize the essence of literature. Semantically speaking, literature in English refers to handwritten or printed documents, Wortkunst in German refers to the art of words, словесность in Russian refers to the creation expressed in words, and ぶ in Japanese. Compared with the above, Hasbro's word "vran j0hiyal" ("literature") more accurately summarizes the essence of literature. The meaning of this word is fictitious. Hasbro and Yin Zhannaxi believe that literature is a fictional article and the meaning of imagination. "Those anecdote stories were originally nonsense, but the literati added branches and leaves to them, embellished them with countless gorgeous words, spoiled them at will, and added the author's intention to the works for future generations" [4 1]. "Yi Shi's short story" refers to a story with authenticity and fiction, that is, a novel. The Mongolian word "Rui" can be translated as "Dao" or "Li". "Tao" refers to the way of social life and the harmony of everything in the world. Literary works can be fictional, but we can't abandon the lifestyle and the world at will. This is a combination of life authenticity and artistic authenticity. "m0hvdal ugei" refers to the connotation of fictional works. Literature is a spiritual labor that records human emotions with language symbols. Symbols are concise, limited and abstract, while emotions are complex, infinite and concrete, so concise literary works are produced. The ultimate goal of "strangeness, Taoism and infinity" is to make literary and artistic works more "interesting".

(2) Smooth and easy to solve: tasteful

"I have been reading books translated into Mongolian by teachers since I was a child. The pictographs of Chinese characters understand each other and are transliteration and interpretation. There is no point in reading Chinese, and I don't know why. Even if I read Chinese, I'm bored. This time, all the Chinese characters that need to be dismantled were replaced by Mongolian, not to show off sages, but to read them with interest [42].

"When translating this book into Chinese, we should follow the rhythm of Chinese in metaphor, antithesis and other languages, and translate the text into poems, words, songs, fu and The Analects as concisely as possible; According to the meaning of words, people's names, place names, country names and tribal names are abbreviated in Chinese, so this history book must become a very tasteful history book [43].

Here, Hasbro and Yin Zhannashi both emphasize that when translating history books and literary works, they must be translated harmoniously, smoothly and easily according to the inertia of language, so that the translated works will have flavor. "Harmony" is the most primitive world outlook or life attitude of Mongols. They hold a harmonious attitude towards the universe, nature, society, life and art, and think that harmony is the most fundamental way of the universe, nature, life and art, so Mongols usually judge problems and phenomena from the perspective of harmony. Yin Zhanna believes that "the most important thing in the ten arts and sciences is perfect harmony" [44], and the concept of harmony has gradually formed a complete artistic philosophy in Yin Zhanna's literary creation practice. For example, there are four strong literary and artistic works (strong in the south and strong in the north, strong in firmness and predatory); Sour, sweet, bitter and spicy are all in one chapter; The articles are all four seasons; Ten pairs are naturally formed in the article (whether there is benevolence, righteousness, propriety and wisdom in the rain and rainbow light of yin and yang of heaven, earth, moon and stars). The continuation of Shout for Hong Ting after The First Floor is also determined by his perfect artistic thinking of harmony theory. Hasbro particularly emphasized "being reasonable" in "Reply to the New Version of A Dream of Red Mansions". For example, "the beauty of the article is not that it can be expected to change repeatedly in advance, but that it is sudden and reasonable" [45], "If you ask me how I realized this wonderful principle, I didn't realize it until I read this book" [46], "The people in the teaching AIDS are just guessing according to the principle, so the original book is not willing to point it out easily" [47], "Happiness begets sorrow, nothing" Dr. Erdun Hada summarized Hasbro's and Yin Zhannashi's novel thoughts as "harmonious and symmetrical novel theory" [49].

(3) Gorgeous words: tasteful

"Those anecdotes were originally nonsense, and the literati added branches and leaves to it, and added countless gorgeous words, arbitrary coquettish, and the author's intention, which was left to future generations, just for fun, that's all" [50].

"We can't just pursue such lively scenes as Romance of the Three Kingdoms, Water Margin, The Journey to the West and Jin Ping Mei" [5 1].

Here, Yin Zhannashi not only agrees with the fiction and imagination of novel art, but also embellishes gorgeous rhetorical stories with his own interest or liveliness. Yin Zhannaxi distinguished the aesthetic differences between "official history" and "romance", and thought that "official history" was only interesting if the arts and sciences were true; "Romance" is only interesting if it is decorated with branches and leaves, seaweed and gorgeous words.

Subtle God: Taste

"Reading this book, if you explore the subtle spirit of the article, the more you read, the more fascinated you become; If you pursue excitement and noise, the more boring you read, the more boring you are. " [52].

"After reading such a wonderful article, I was full of interest, and almost forgot its fiction. As a true story, I suddenly saw Jia Yucun's appearance, only to realize that this is to remind readers that this is a' false language in the village'-also to avoid Jia Yucun people pulling him aside, breaking his story and keeping him out. This is the way to thread a needle "[53].

Here, Hasbro thinks that ingenious or wonderful articles are delicious. Hasbro discussed the wonders of the article in many places. Only when the article is wonderful can it be endless, and when it is endless, it can create an air. Only when the air is gone can it taste. Therefore, Hasbro's "taste concept" involves curiosity, air and endless articles. "The article must have an endless aftertaste." [54], "It is not surprising that there is a heart-to-heart word in the article. It's great that this pen does what it means. [55], "the author wrote more than one thing, but also to do, articles emerge in endlessly" [56]. Because there are endless articles, you can taste them, and the more you taste, the more interesting it is. This is the real literary work.

Third, passion: flavor (poetic)

"The taste, smell and charm of poetry lie in burning passion and overflowing lyricism" [57].

"The emotional lyricism of poetry endows lyric poetry, narrative poetry and even prose works with poetry" [58].

Here, Ba Brinbeck believes that the poetic quality of poetry lies in its burning passion and overflowing lyricism, and if there is passion, there is poetry. But emphasizing the interest of narrative works is also related to emotional expression.

Hasbro and Yin Zhannashi praised the article as "tasteful" while belittling the work as "boring". For example, "if you pursue excitement and noise, the more you read, the more boring you get." [59], "Later generations think that this kind of story has existed throughout the ages, and this meaningless human story is insignificant, so you don't even look at it" [60], "This method is used repeatedly and is stale and tasteless. How can this book seek truth, wonder and surprise? " They think noisy, meaningless and repetitive works are boring or insignificant.

Excellent works contain endless interest, rich and profound implications and irresistible artistic charm, and theorists from generation to generation are trying to explain this artistic charm. This charm is the appeal of aesthetics-"taste". Zhong Rong seeks this aesthetic appeal from the poetic realm of "words are full of meaning", while Si Kongtu seeks this aesthetic appeal from the artistic realm of "meaning beyond taste" and "meaning beyond rhyme". Jiao Ran inquired from the mysterious realm of "seeing feelings but not words", while Yan Yu sought from "wonderful understanding". Although Hasbro's theory of infinity and Yin Zhannaxi's pursuit of simplicity and conciseness stem from the above artistic spirit, their interpretations of "taste" are quite different and contain strong realism. They discussed "taste" or "taste" from the aspects of "literary truth", "unique style", "fluent and easy to understand", "gorgeous rhetoric" and "subtle spirit". Literary and artistic works are human emotional symbols. Using limited, concise and abstract symbols or forms to express infinite, rich and concrete emotions-this is the pursuit of artistic conception in Chinese poetry and calligraphy, and it is also the eternal spirit of art. Some scholars believe that this artistic pursuit stems from the philosophy of Laozi and Zhuangzi [62]. Zhuangzi said in "Heaven": "There are books for those who follow the Taoism in the world. Books are not words, but words are expensive; What is precious in language is meaning. Meaning follows; Those who follow the meaning cannot be explained in words. " Because the meaning is beyond words, you can only feel it with your heart and taste it with your heart. Modern linguistics has proved that language cannot accurately convey aesthetic feelings and experiences. In the 1940s, the Mongolian novelist Ren Qin Hao Rilao once lamented: "Everyday popular language ... sounds simple and rude, but it contains unspeakable taste. Its power and significance can only be understood by heart, not by words. " [63]. The so-called "unspeakable taste" and "heartfelt experience" indicate that symbols or forms cannot accurately express human emotions, but can only be vaguely hinted or symbolized. Poetry can't be explained, only understood.