Both Chinese and Western aestheticians highly appreciate the aesthetic merits and significance of "blankness". However, their understandings of "blankness" are not completely identical: the Chinese ancient term "blankness" was of a blurry and boundless concept, while the contemporary Western literary term "blankness appears legible and limited. Chinese essayists reckon that the aesthetic effect of "blankness" is determined by the nature of "Dad, while the Western scholars think that, through the breaking of the possible binding nature, "blankness" could reveal a potential connection, thus achieving an aesthetic implication. However, both hold the view that the virtual vacancy of the writer's soul is the prerequisite for creating the artistic beauty of "blankness". Yet the Chinese ancient concept of virtual vacancy mainly meant to cast aside the mote to dispose of oneself, while the Western concept means to wipe out the shabby to take back the pure self.
