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<p>The Chinese aesthetic pinciple of “Qiyun Shengdong” (气韵生动), or “rhythmic vitality”, entered Western discourse in the early twentieth century through the work of sinologists and art historians. British modernists adopted and reinterpreted the concept as “the rhythm of life”, employing it to challenge European mimetic traditions, question modernity’s effect on artistic sensibility, and critique Eurocentric narratives of progress. This article examines its impact through three case studies: Roger Fry’s engagement with Chinese art, which led to a reevaluation of form and composition; John Middleton Murry’s avant-garde magazine <i>Rhythm</i>, which promoted a new aesthetic vision; and Virginia Woolf’s literary works, infused with Chinese-inspired sensibilities. These examples demonstrate how “Qiyun Shengdong” reshaped British modernism, liberating art from strict verisimilitude to prioritize autonomy, expressiveness, and spirituality. Such cross-cultural exchange not only enriched British modernism but also contributed to a richer dialogue between Eastern and Western artistic traditions, fostering a more inclusive and diverse understanding of art in the early twentieth century.</p>

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Rhythm across cultures: the Chinese concept of “Qiyun Shengdong” in British modernism

  • 期刊论文

  • 发表日期：

    2025年8月16日

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  • Yaqing Xie

摘要

The Chinese aesthetic pinciple of “Qiyun Shengdong” (气韵生动), or “rhythmic vitality”, entered Western discourse in the early twentieth century through the work of sinologists and art historians. British modernists adopted and reinterpreted the concept as “the rhythm of life”, employing it to challenge European mimetic traditions, question modernity’s effect on artistic sensibility, and critique Eurocentric narratives of progress. This article examines its impact through three case studies: Roger Fry’s engagement with Chinese art, which led to a reevaluation of form and composition; John Middleton Murry’s avant-garde magazine Rhythm, which promoted a new aesthetic vision; and Virginia Woolf’s literary works, infused with Chinese-inspired sensibilities. These examples demonstrate how “Qiyun Shengdong” reshaped British modernism, liberating art from strict verisimilitude to prioritize autonomy, expressiveness, and spirituality. Such cross-cultural exchange not only enriched British modernism but also contributed to a richer dialogue between Eastern and Western artistic traditions, fostering a more inclusive and diverse understanding of art in the early twentieth century.