Either in the Eastern or Western civilisations, people would agree that the language as a sign enables human the “animal symbolicum” have a transcendental power. However, the form of the signs it points to vary in different civilisations from the very beginning. In the story of Babel, the lord weaken human‘s transcendental power by confusing their “speech”; while in the legend of ancient China, as the legend goes that when Cangjie created the “written character”, it began to rain corn in the sky, and the ghost cried at night. However, in the discipline of semiotics or semiology, as we know, Saussure defines the scope of his study as "the phonetic system that stems from the Greek alphabet" (Saussure 1959: 27), accordingly, the entire signs system organised by convention. Although Pierce's general motivation concept certainly compensates for the general bias caused by the limitations of Saussure’s object, as a discipline of "logic", Pierce himself seldom involves specific cultural objects. How to demonstrate motivation within the theoretical structure, and have a substantial justification for cultural objects as well? Focusing only on the general image symbol research, as many scholars did, does not constitute a symmetry supplement to Saussure's linguistic sign research. Therefore, this study attempts to explore the universal motivation with the sample of the Hieroglyphic stem from China. This article will not only take Oracle the character system, which already has mature phonetic rules, as an example but also provide the "BaShu Tuyu"( Bāshǔ túyǔ), which is an ancient sign between language character and icon, as a supplement. Theoretically, it is an advancement to Pierce's concept of "mixed motivation"; in term of the object scope, it is a supplement to the signs system limited by Saussure's phonetic characters. These two supplements are some kind of discussion on the basis of semiotics.