Originally the Chinese system, whether developed on the spot or derived from Akkadian or any other foreign source, was of course pictographic or ideographic, and it is commonly supposed to have remained at that stage ever since, the only material changes being of a graphic nature. The pictographs were conventionalised and reduced to their present form, but still remained ideograms supplemented by a limited number of phonetic determinants. But de Lacouperie has shown that this view is a mistake, and that the evolution from the pictograph to the phonetic symbol had been practically completed in China many centuries before the new era. The _Ku-wen_ style current before the ninth century B.C. "was really the phonetic expression of speech[476]." But for the reason stated it had to be discontinued, and a return made to the earlier ideographic style. The change was effected about 820 B.C. by She Choeu, minister of the Emperor Sueen Wang, who introduced the _Ta-chuen_ style in which "he tried to speak to the eye and no longer to the ear," that is, he reverted to the earlier ideographic process, which has since prevailed. It was simplified about 227 B.C. (_Siao Chuen_ style), and after some other modifications the present caligraphic form (_Kiai Shu_) was introduced by Wang Hi in 350 A.D. Thus one consequence of the "Expansion of China" was a reversion to barbarism, in respect at least of the national graphic system, by which Chinese thought and literature have been hampered for nearly 3000 years. Written records, though at first mainly of a mythical character, date from about 3000 B.C.[477] Reference is made in the early documents to the rude and savage times, which in China as elsewhere certainly preceded the historic period. Three different prehistoric ages are even discriminated, and tradition relates how Fu-hi introduced wooden, Thin-ming stone, and Shi-yu metal implements[478]. Later, when their origin and use were forgotten, the jade axes, like those from Yunnan, were looked on as bolts hurled to the earth by the god of thunder, while the arrow-heads, supposed to be also of divine origin, were endowed in the popular fancy with special virtues and even regarded as emblems of sovereignty. Thus may perhaps be explained the curious fact that in early times, before the twelfth century B.C., tribute in flint weapons was paid to the imperial government by some of the reduced wild tribes of the western uplands.