Qiyun Shengdong and Virginia Woolf’s To the Lighthouse

ABSTRACT The Chinese poetic concept qiyun shengdong (气韵生动), often translated as “Rhythmic Vitality,” exerted an inspirational influence on the novelistic innovations of British writer Virginia Woolf through translation and reinterpretation. In the early twentieth century, British sinologists and art critics not only translated Xie He’s concept of qiyun shengdong from classical Chinese aesthetics but also integrated its core ideas into the English literary concept of “rhythm,” thereby transcending its technical connotations and elevating it to the level of inner spiritual vitality. By synthesizing her understanding of Chinese painting and Eastern fiction with the interpretations of qiyun shengdong proposed by Laurence Binyon and Roger Fry, Woolf redefined the essence of “rhythm” and implemented this reimagined concept in her novel To the Lighthouse. In the work, qi manifests as a life force that fuses things that seem incompatible yet have a mysterious affinity into a harmonious whole; yun is embodied in the plastic structure and narrative fluidity; and shengdong unfolds through the dialectical unity of the complex relationships among world, life, and art. Woolf’s creative experimentation illuminates the innovative vigor born from the collision and fusion of Chinese and Western intellectual traditions.