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老子的“大音希声”是以比喻来说明“道”的特点的，它涉及到文艺创作中“有”和“无”、“虚”和“实”的关系问题。虚实结合、重虚的方法，表现出中国古代文艺不同于西方的重要美学特点。虚和实的具体含义，在我国古代文艺理论中主要的有：一，虚和实的关系即虚构和真实的关系；二，虚和实指文学作品中虚字和实字的关系；三，虚和实的关系就是作品中的神形、情景、意境的对立统一；四，虚即文艺作品中未直接描写的部分，实即直接描写的部分。对文艺创作中虚实关系的处理，大致有两种：一是实以引虚，二是虚中孕实。无论实以引虚或虚中孕实，均应虚实相济。
Lao Tzu’s “The Great Voice” is a metaphor for illustrating the characteristics of “Tao”. It relates to the relationship between “yes” and “no”, “virtual” and “real” in literary and artistic creation. The combination of the actual situation and the actual situation shows that the ancient Chinese literature and art is different from the western aesthetic important characteristics. The concrete meanings of virtuality and reality in ancient Chinese theory of literature and art mainly include: First, the relationship between imaginary and real is the relationship between imaginary and real; Second, imaginary and real refers to the relationship between imaginary and real characters in literary works; The relationship between reality and reality is the unity of opposites between gods, sceneries and artistic conceptions in works. 4. The imaginary part that is not directly described in literary and artistic works is actually the part directly described. The literary and artistic creation of the relationship between the actual situation of the treatment, there are roughly two: First, in order to attract virtual, and second, the imaginary reality. Whether it is in order to attract virtual or virtual reality, should be based on actual conditions.