After a comprehensive analysis of the meaning of chao (抄) and chaoshou (抄手) as well as depicting the extended series, it can be seen that no later than the tenth century, chao [抄(钞)] which means “picking by fingers” was extended to mean “arched hands salutation” and became the word chaoshou1 (抄手1). At least in the 1260s, the meaning of chao (抄) was infected by cha5 (叉5), and chao (抄) produced chuigong (垂拱, two-handed fork caged in the sleeve) meaning. At least in the first half of the 15th century, the meaning of chaoshou (抄手) was infected by chashou6 (叉手6), and chaoshou (抄手) produced the meaning of “hands crossed over the arms in front of the chest”; Between the 16th and 19th centuries, due to its prominent image characteristics, chaoshou3 (抄手3), which means “hands crossed over the arms in front of the chest”, had metonymic extended into a flour made food chaoshou4 (抄手4). The transmission path of the chaoshou4 (抄手4): Sichuan, Chongqing (do not distinguish which is the cradle) > Yunnan, Guizhou, Shaanxi, Hubei (do not distinguish the order). Under the dominant role of the implicit meaning of the chaoshou2 (抄手2), as the homomorphic word of the root word chaoshou4 (抄手4), maichaoshou4 (賣抄手4) reassembled: the meaning of maichaoshou4 (賣抄手4) evolved from “selling flour made food chaoshou (抄手)” into maichaoshou2 (賣抄手2, having nothing to do), resulting in the local characteristic maichaoshou2 (賣抄手2). As a phenomenon of word meaning development with backtracking characteristics, the emergence of maichaoshou2 (賣抄手2) deserves attention.

The word Náyún (拏雲) appeared in the Tang Dynasty, which was mostly used to describe people’s lofty aspiration, and then produced the verb-object phrases with structure of “Verb (grasp) + Noun (cloud/fog rain/snow)” such as Náyúnwòwù (拏雲擭霧) and so on. In the process of use, ná yún wò wù have been replaced by same word class morphemes or near-synonymy morphemes, and produced phrases like Náyúntǔwù (拏雲吐霧) as well as Náyúnténgxiāo (拏雲騰霄) that describe high ability or magnificent momentum; these phrases are often used as predicates or objects in sentences. Sháobǔ (杓卜) originally refers to use the Big Dipper for divination, while the latter Sháo (杓) refers to wooden dippers and wine-taking dippers which are similar in shape to the Big Dipper. Because the soothsayers can’t be trusting, Zen-Buddhist takes Sháo (杓) to show that they can’t trust words to soothsayers, but should comprehend Zen by personally feeling and understanding. Driven by the evolution of Chinese disyllabic words and influenced by the flexibility and diversity of Zen language, the verb-object structure phrase Yāliángwéijiàn (壓良爲賤) has changed from a verb-object structure phrase to a verb Yāliáng (壓良) that means pushing someone.

It has been a consensus among academic circles that the Ten-Line Edition of Da Guang Yi Hui Yu Pian from the Imperial House Library of Japan is “Song Dynasty carved and Yuan Dynasty revised”, but each scholar lacks a detailed judgment basis. The investigation of the broken line of the column frame and the engraving artist’s name as well as the proofreading with the same version system of Song version (remaining pages) from Kanazawa Bunko, can provide a partial basis for where is “Song carving” and where is “Yuan repair” in the Archives and Mausolea Department collection, and correct the mistakes made by predecessors in the judgment process. The vulgar character in the name of the engraving artist advanced the appearance of liu (刘) in paper documents to the middle of the Southern Song Dynasty.