The term generally refers to different types of writings. Its meanings have evolved over time. During the Western and Eastern Han dynasties, it generally referred to writing techniques, writing styles, and various types of articles. During the Wei, Jin, and the Southern and Northern dynasties, literary scholars began to identify different features in different types of writings. They distinguished, for the first time, literary writings from those interpreting classical works, and identified pure literature as literary writings and practical writings as technical writings. They subsequently distinguished, on the basis of form, literary works such as poems, fu (赋 descriptive prose interspersed with verse), song (颂 essays of extolment), and zan (赞 essay of commendation) from essays such as memorials, documents, and policy proposals submitted to the emperor by officials. They concluded that all writings with rhyme were literary writings and those without were technical writings. Xiao Yi(508-554), Emperor Yuan of Liang, argued further that literary writings should not only have rhyme, but also express the author’s inner feelings and use elaborate rhetoric, while technical writings required only general writing skills. Today, this term mainly refers to writing techniques and language styles.
Originally, the term meant to command a good knowledge of documents from pervious dynasties. Wen (文) referred to documents, and xue (学) referred to the study of these documents. Later, the term referred to articles and documents in general as well as the knowledge about those documentations. The term had three main meanings. Firstly, from the pre-Qin period to the end of the Eastern Han Dynasty, it meant knowledge of ancient literature, especially that of humanities including poetry, history, rites and music, as well as works of laws and regulations. Starting from the Wei and Jin dynasties, the term basically became equivalent to today’s concept of literature, but it also referred to academic writings on humanities. With the introduction of the Western concept of literature in recent history, the term gradually evolved to mean a pursuit that uses language to create aesthetic images. However, a few scholars, such as Zhang Taiyan(1869—1936), stuck to its traditional definition. The original meaning of the term determined the mainstream view on literature in contemporary China, which focuses on examining a literary phenomenon in the broader cultural context and emphasizing the intrinsic relationship between the aesthetic values of literature and liberal arts. This is somewhat different from the Western notion of literature which highlights the independent nature of literary appreciation. Secondly, the term refers broadly to various kinds of articles and documents in ancient times. Thirdly, it refers to scholars who promote learning through writing and teaching, as well as officials in charge of culture and education.
The term refers to all kinds of writings, including what we call essays and books today. In the Pre-Qin period, this term was subsumed under literature. During the Han Dynasty, the term referred to writings other than wenxue (文学 documents of previous dynasties) to specifically mean essays, articles, history books, and treatises. In the Six Dynasties, the term, together with wenxue, began to assume the meaning of what later generations meant by literature, that is, writings for aesthetic appreciation which encompass every type of literary works. Zhang (章) also implies a movement of music played to its finish, or a single piece of music. Therefore, the term focuses on both meaning and structure as well as writing skills and techniques. Both Chinese characters in the term have the meaning of interwoven patterns and colors. Together, they signify a beautiful form, giving the term an aesthetic connotation. The earlier concept of the term is related to but different from that of wenxue, with the former focusing more on elegant diction and style, indicating increasing attention to the aesthetic value of literary works.