Sweep the index, middle, and ring fingers across two strings, twice. The first sweep is played away from the performer. The second is played toward the performer. The three fingers are held tightly together so they strike the strings simultaneously. The strikes are often followed by a dampening of the strings with the palm of the right hand, called fú 伏.

Ferguson says 泼刺指 (trad. 潑刺指) Pō cì zhǐ is two distinct actions: Pō and cì. I assume pō refers to the three fingers sweeping towards the performer while cì is when the fingers sweep away. However, Ferguson does not specify how much of this technique is included in that. Do the number of strings played at once matter? As It's unclear where the boundaries lie I have not given pō and cì their own entries.

Two pō cì zhǐ played in sequence. The first three sweeps are soft, the fourth sweep is emphasized.

Three sweeps are played in sequence, towards, away, and then towards the performer. The first two are played softly, the third is played loudly.

Sweeps across one or two strings with the thumb and index finger pinched together. Only one nail strikes the string(s) in each direction. If this is played across two strings then the lower string is bent to raise it to a matching pitch.

Kwok is the only source that mentions this and does not provide a character for it. It may be an outdated technique; pinching the fingers together adds rigidity to a performer’s natural fingernails. Playing with artificial nails on top of natural nails may also benefit from that pinch, but performers who use artificial nails on the pads of their finger likely won’t see much value in this, and the angle on the thumb’s artificial nail may complicate it.