Listen to this articlefēnɡyú 丰腴
Plump Beauty
中国古代文学艺术的一种风格。“丰腴”一词，本指丰厚、丰富、丰满之意，在书法美学中，主要指笔墨饱满、圆熟润美，引申到诗歌创作中，主要指作品的内容丰富细腻，品味不尽。但仅有丰腴是不够的，只有将“丰腴”和“清癯”结合起来、相反相成，才体现中国古代诗歌及艺术美学的辩证法。宋代著名文学家苏轼（1037—1101）用“质而实绮，癯而实腴”八个字概括陶渊明（365？—427）的诗歌艺术特色，并给予了至高的评价，意思是说，陶渊明的诗歌在质朴中蕴含了华美，看起来清瘦而实际上内容丰富。
Plump beauty is a style prevalent in ancient Chinese literature and art. “Plump” here suggests abundance, richness and fullness. In calligraphic aesthetics, it refers to a state of chubbiness, maturity and lushness. When used in poetic creation, “plump” is associated with a poem’s richness in nuance and enduring appeal. However, plump beauty would not work alone; it has to be combined with or complemented by leanness. Only thus can the dual character of ancient Chinese poetry and artistic aesthetics be fully expressed. The Northern Song writer Su Shi (1037-1101) highly lauded the artistic features of Tao Yuanming’s (365?-427) poetry by saying that “it is magnificently beautiful and richly varied under the surface of simplicity.”
引例 Citation：
◎吾于诗人，无所甚好，独好渊明之诗。渊明作诗不多，然其诗质而实绮，癯而实腴，自曹、刘、鲍、谢、李、杜诸人皆莫及也。（苏轼语，见苏辙《子瞻和陶渊明诗集引》）
（我对于诗人，没有特别喜欢的，唯独喜欢陶渊明的诗。陶渊明所作的诗数量不多，然而，他的诗在质朴中蕴含了华美，看起来清瘦而实际上内容丰富，从曹操、刘桢、鲍照、谢灵运，到李白、杜甫等诗人都赶不上他。）
I am not particularly fond of any poet except Tao Yuanming. He did not write that many poems, but those he composed are magnificently beautiful. Though seemingly simple, they are richly varied under the surface of insipidity. None of the other poets, including Cao Cao, Liu Zhen, Bao Zhao, Xie Lingyun, Li Bai, and Du Fu, are his equals. (Su Zhe: Preface to Su Shi’s Replies to Collected Poems of Tao Yuanming)
