As a Chinese idiom, 'no hindrance to eloquence' contains profound connotations of Buddhist linguistic wisdom. Its semantics have undergone a sublimation from religious traits to universal abilities: originally referring to the extraordinary ability of Buddhas and Bodhisattvas to explain Buddhism, with clear and coherent principles, fluent language, and no hindrance; Later, it refers to the eloquence of being able to speak and argue. This idiom first appeared in the translation of the Avatamsaka Sutra by the Eastern Jin Buddhist Tuoba Tuoluo: "If one can know the Dharma and never die, then one must have the ability to argue without barriers," demonstrating the high importance that Mahayana Buddhism places on language art. In the Buddhist system of thought, 'the ability to argue without hindrance' is rooted in the wisdom of Prajnaparamita. The Mahaprajnaparamita explains its essence: "Prajnaparamita is the mother of all Buddhas, and all Buddhas use the Dharma as their teacher. The Dharma practitioner is Prajnaparamita," indicating that eloquence comes from the realization of emptiness. During the Tang Dynasty, when Shi Cha Nanduo re translated the Avatamsaka Sutra, he systematically proposed the system of "four unobstructed debates", which further improved this concept. Law does not hinder debate, referring to understanding the name and appearance of teaching methods; Righteousness does not hinder debate, referring to a deep understanding of the connotation of righteousness and reason; Words that do not hinder debate refer to mastering language skills; Le Shuo Wu Bian refers to the skillful and adaptable way of expressing oneself. These four dimensions construct a complete framework for Buddhist language philosophy. In Buddhist stories, Vimalakirti, a layman, can be regarded as a model of "unobstructed eloquence". The Vimalakirti Sutra records that this bodhisattva at home was "profound and subtle, with boundless wisdom in entering and exiting." His eloquence once impressed many of Shakyamuni's senior disciples, leaving Manjusri in awe. Vimalakirti, through the dramatic scene of 'silence and speechlessness', showcases the supreme debating talent of' entering the ultimate law ', revealing that the essence of debating talent lies not in the accumulation of words, but in the intuitive prajnaparamita of' speechlessness and speechlessness in all laws'. The Tang Dynasty's Chengguan's "Commentary on the Avatamsaka Sutra" emphasizes that "there is no hindrance to the ability of debate, starting from Samadhi", indicating that true debate comes from Zen cultivation rather than mental artificiality. This immediate use of language concept has become an important characteristic of Chinese Buddhism. Chinese Zen Buddhism integrates eloquence into sharp dialogue. The Song Dynasty's "Wu Deng Hui Yuan" records that the Zen master Qingliang Taiqin was "born to know, and his eloquence was not hindered", marking the completion of the sinicization of this vocabulary. The three words "Go for tea" by Master Zhaozhou penetrate the mind of those who inquire about the Dharma; Master Yunmen drank the "dried dung peg" and cut off the students' delusions. These seemingly unconventional expressions are precisely the flexible and ingenious use of 'unobstructed eloquence'. Su Shi commented on this type of sharpness: 'Like drinking water, one knows its warmth and coldness,' highlighting its characteristics beyond words. During the Ming and Qing dynasties, this idiom entered secular discourse. The novel "Romance of the Three Kingdoms" describes Zhang Song as "eloquent and eloquent"; The poem 'The Flowers of the Sea of Sin' describes the eloquent and eloquent orators as' able to speak without hindrance, nodding their heads', transforming Buddhist terminology into a standard of literary literacy. Su Xuelin's "Tian Han's Plays": "The dialogues in Tian Han's plays are concise and impeccable, sometimes humorous, sometimes serious, sometimes passionate, sometimes painful, sometimes overflowing with poetic talent, and sometimes brilliant in writing; sometimes graceful and eloquent, with no hindrance in argumentation, which can be said to be extremely conversational." The inspiration of the "Silent Silence" in the "Vimalakirti Sutra" may lie in the fact that true eloquence does not lie in the amount of words spoken, but in whether it can directly target the human heart. From ancient times to the present, 'eloquence without hindrance' has always guided the wisdom of communication. It reminds us that the most brilliant debating talent is what the Book of Changes calls' self-evident '; The most perfect communication is the "no words, no rewards" sung in the Book of Songs. In this era of noisy voices, perhaps we should revisit Vimalakirti's "one silence triumphs over a thousand words", which is the true meaning of "eloquence is unimpeded" and the linguistic wisdom that Chinese civilization has given to the world. (New Society)