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Words cannot fully express the fundamental understanding of the world. According to The Book of Changes, words are inadequate for expressing what one means and that was why the hexagram images were made to convey the ideas of the sages. Xun Can (209?-238), Wang Bi (226-249), and other metaphysicians of the Wei and Jin dynasties further elucidated this concept. Their understanding of the relationship between language and thinking was determined by their understanding of the ontological existence or original source of the world. They believed that the world’s ontological existence or original source was wu (无), which was beyond anything tangible. Wu had no specific form or attribute, and it was therefore impossible to name or describe it. Thus, language was found to have its limitations in expressing thought.
Words can fully express the fundamental understanding of the universe. The relationship between language and thought was a prominent topic of debate in the Wei and Jin dynasties. Ouyang Jian (?-300) did not accept the view of Xun Can (209?-238) and Wang Bi (226-249), who alleged that “words cannot fully express thought.” Instead, he put forward the notion that “words can fully express thought.” In his opinion, thought represents perceptions of objects and reason, while names and words are reflections of them and are determined by things and reason. As a thought is acquired and expressed, it is analyzed and realized by names and words. Thoughts and their correspondent words are accord with each other and inseparable. Thus thought can be fully and exhaustively expressed.
A technique or style in creating literary works, it refers to the use of concise language in portraying a simple artistic image, whose rich feelings and implications are elicited in a subtle manner, so that readers can intuit multiple hidden meanings. One finds a straightforward and factual manner of expression in early literary and artistic works in China, as well as the subtle mode of expression. Because this technique originally evolved from Daoist thought and, in the early period, was employed as a means of criticizing powerful individuals in poetry, it stresses the expression of emotion in a subtly suggestive manner, such that the depiction of images should be supported by a rich undertone or hidden meaning that can appeal to readers. The language should be simple and plain but still leave sufficient room for readers to seize upon hidden meanings. Sikong Tu（837—908）, a literary critic in the Tang Dynasty, listed it as one of the twenty-four styles of poetry writing. Subtle suggestion imparts a high degree of unity to a writer’s cultural attainments, creative technique, as well as his literary style and imagery.
The term refers to the use of exaggeration and embellishment in a literary work to enhance its artistic appeal. When used as appropriate, exaggeration and embellishment can achieve an artistic effect beyond that of realistic descriptions. However, if overused, it will create the opposite effect, making the writing too flowery to be credible. Therefore, the literary critics of old China believed that excessive use of exaggeration and embellishment should be avoided.
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