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首页> 外文期刊>Journal of Architectural Engineering Technology >A New Territory to Chart in History: On the Production of a Cultural History of Imagery in China: A Hundred-Volume Work
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A New Territory to Chart in History: On the Production of a Cultural History of Imagery in China: A Hundred-Volume Work

机译：历史的新领域：关于中国意象文化史的产生：一百本著作

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The cognitive paradigm of the “homology between writing and imagery” has long existed in China. Such a cultural mode of “homology between writing and imagery” or even “homogeneity between writing and imagery” led to the creation of the grand system of Chinese civilization. Prior to the invention of characters, the civilization of imagery single-handedly undertook the task of recording history and symbolizing the external world. After the maturation of the writing system, it harmoniously coexisted with and complemented the writings. “Imagery is (defined by) its terseness,” while “writing (boasts of) its broadness.” Hence, the rich history and tradition of “images on the left and historical records on the right” came into being in Chinese culture. Only in the modern times did imagery’s social function decline. At present, studies on Chinese cultural history by focusing on writings have abounded. By comparison, those focusing on imagery as the vehicle of Chinese culture are still lacking. I have not seen works on culture of imagery in China with detailed materials and complete structure. There are few research articles in this regard, too. “As (one) intends to know the great Way, (one) must work on history first.” In the process of bringing about a great rejuvenation of the Chinese nation, it is vital to revive Chinese culture first to present the whole world an unbroken system of civilization with tens of thousands or even hundreds of thousands of years. Such a visual or graphical historical heritage and cultural mode are different from the phonetic system in Euro-American countries, because they transcend the linguistic cognitive mode and logic and thus contributed to the making of the unique civilizational form, wisdom, and a distinctive cultural lineage of imagery in China.
机译：“书写与图像之间的同源性”的认知范式在中国早已存在。这种“文字与图像之间的同源性”甚至“文字与图像之间的同质性”的文化模式导致了中华文明大体系的建立。在人物发明之前，图像文明独自承担了记录历史和象征外部世界的任务。随着写作体系的成熟，它与作品和谐共存。 “图像是由其简洁性定义的，而文字是由其广泛性所吹嘘的。”因此，在中国文化中形成了丰富的历史和传统，“左手图像和右手历史记录”。直到现代，图像的社会功能才下降。目前，以文字为中心的中国文化史研究十分丰富。相比之下，仍然缺少那些将图像作为中国文化载体的对象。我还没有看到具有详尽资料和完整结构的中国意象文化作品。关于这方面的研究文章也很少。 “由于（一个）打算知道伟大的道路，（一个）必须首先在历史上努力。”在实现中华民族伟大复兴的过程中，至关重要的是要首先复兴中华文化，向全世界展示数以万计甚至数十万年的不间断的文明体系。这种视觉或图形化的历史遗产和文化模式与欧美国家的语音系统不同，因为它们超越了语言的认知模式和逻辑，从而有助于形成独特的文明形式，智慧和独特的文化传承在中国的图像。

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