Research on Traditional Culture: Origin and Evolution of Chinese Characters (Picture)

The Chinese nation is a wise nation. Chinese culture has a long history.

----Zhuge Changqing

amitabha.

Blessed life is limitless.

Fu Xi's ancestor, Nvwa's mother.

The Chinese nation is a wise nation.

Chinese culture has a long history and is admirable.

Everyone who comes into contact with the culture of the Chinese nation will sigh.

According to historical research, many western cultures have learned from Chinese culture.

For example, during the Ming and Qing Dynasties, many Western missionaries came to China and saw the mystery of Chinese culture, so they copied, copied and described many essence and quietly sent people back to the West.

For example, China's Eight Diagrams of the Book of Changes, Chinese literature, opera and calligraphy culture, Chinese feng shui culture, Chinese painting art, Chinese ceramics, Chinese characters, and Chinese martial arts have had a great impact on the West. Now many western buildings are carved with the Eight Diagrams. Many western buildings have adopted the concept of Chinese geomantic culture.

After learning Chinese culture, many Westerners further innovate and promote the development of western culture.

Mr. Chen Wei, a professor of Shanghai Normal University, published the article "On the Influence of Chinese Culture on the West" in People's Daily, and made a lot of explanations. Zhuge Changqing believes that this article basically summarizes the great influence of our traditional Chinese culture on the West.

Professor Chen Wei pointed out that in ancient times, China's economic and social development has always been at the forefront of the world. Chinese people have always been confident and proud of their cultural traditions, cultural values and cultural influence. In modern times, there has been some cultural inferiority complex, believing that Chinese culture is not as good as the West. There are both historical and practical reasons for cultural inferiority since modern times. From the perspective of historical reasons, after the Opium War, the western culture attacked the traditional Chinese culture with the help of "strong ships and sharp guns". The traditional Chinese culture declined and the traditional value system was greatly impacted. In this case, some people advocate the theory of "total westernization", and believe that Chinese traditional culture can not compare with western culture in any way. This cultural inferiority complex still affects people's psychology at present. From the perspective of practical reasons, with the in-depth development of economic globalization, Western culture as a strong culture has a profound impact on the values, ways of thinking, aesthetic tastes, etc. of Chinese people. Some people are not confident about Chinese traditional culture and enhance the international influence of Chinese culture, and some even maliciously depreciate their excellent traditional culture.

In this case, to rebuild the cultural confidence of Chinese people, we should not only explore the broad, profound, open and inclusive nature of Chinese traditional culture, but also systematically comb the evolution of Chinese traditional culture, make scientific judgments on its reasonable factors and intrinsic values, especially make appropriate analysis and evaluation of the impact of Chinese traditional culture on the West. This is the weakness of current academic circles, and it is also easy to be ignored by Chinese people. In fact, from a historical point of view, Chinese traditional culture has infiltrated into western culture in an all-round way with its contact with the West, and even affected the trend of western culture.

Chinese culture has deeply influenced western culture, and its influence is even greater than the mutual influence between western countries. This article discusses the influence of Chinese culture on the West. In a broad sense, it mainly talks about the extensive influence of ancient Chinese material and spiritual civilization on the West.

In terms of material civilization, the influence of China's silk and porcelain on Europe is universally recognized. This influence is not only material, but also contains rich spiritual values. From the 8th century BC to the 2nd century AD, Chinese silk was continuously transported to Europe through the "Silk Road". During this period, Chinese culture had the first major impact on the West through the silk trade. Around the 5th century BC, Chinese silk fabrics appeared on Greek statues as the clothing of ancient Greek nobles. At that time, Westerners admired Chinese silk and called China "Siris", that is, "the country of silk". The thin, soft, light and shapeless characteristics of silk are consistent with the requirements of the pursuit of human freedom established by the ancient Greeks and respected by future generations of Westerners. Silk has made a good interpretation of western aesthetic concepts with its material characteristics. From the Renaissance to modern times, silk has always been a staple of China's exports to the West. Porcelain is another major carrier reflecting the influence of Chinese culture on the West. Porcelain production has a long history in China, but it is extremely expensive in Europe because of its relatively fragile and inconvenient land transportation characteristics. Some upper class people take it as their capital to show off. Later, as the main trade channel between the East and the West changed from land to sea, it provided a realistic possibility for the West to import large quantities of Chinese porcelain. By the end of the 17th century, the number of porcelain shipments from Guangzhou, Quanzhou and other places reached 3 million each year. The exquisite, delicate and gorgeous style displayed by Chinese porcelain gave birth to the "Rococo style" that rose in France. Even western scholars have to admit that "the combination of Rococo art style and ancient Chinese culture, the whole secret of which lies in the delicate and subtle sentiment reflected by porcelain."

In terms of spiritual civilization, the influence of ancient Chinese philosophy and art on the West is universally recognized.

The ideological theories of Confucianism, Taoism and Zen have been influencing the western ideological circles from the Enlightenment era to the present. The influence of literature and art is particularly significant. Yuan Zaju was once popular in Europe in the 18th century, and it became fashionable to use Chinese materials to create dramas. For example, the forerunners of the European enlightenment era borrowed Chinese dramas to promote the rational spirit of enlightenment. The Chinese Orphan adapted by Voltaire was staged in France, making a sensation in Europe. The major influence of the artistic techniques of Chinese opera on the West was mainly in the 20th century, represented by the influence of Chinese Peking Opera on Brecht's "expressionist" drama theory. Brecht has long wanted to break through the barriers of western drama theory, but lacks practical evidence. When he saw the Peking Opera performed by Mei Lanfang, the stage practice focusing on the performer's performance power and the virtuality and stylization of performance techniques inspired him to put forward two important "expressionist" theoretical principles of stage practice: "separation effect" and "breaking the fourth wall", thus establishing the position of "expressionist" in drama. Drama (opera) performance, the West attaches importance to "experience", and the East attaches importance to "performance". Brecht's brilliance lies in using the strengths of Chinese opera to make up for the shortcomings of western drama performance, which has achieved great success. When Chinese paintings using ink painting on rice paper appeared in the West, these Chinese paintings, which are good at painting landscapes, flowers and birds, and animals, just complement the western oil paintings, which are good at painting people, and immediately attracted Westerners.

The style of Chinese painting has gradually influenced the French painting world, and many landscape paintings with Chinese style have emerged. The impressionistic style of Chinese painting really penetrated into the creation aesthetics of western painters. It was at the turn of the 19th and 20th centuries that successful painters such as Matisse and Picasso. Matisse's abstract school was developed from the "Oriental style" of his teacher Moro's Fauvism, and Picasso's cubism evolved in the direction of "Rococo style". Other western modernist painters with freehand brushwork as their main theme were also more or less influenced by the style of Chinese painting, and they created a new atmosphere in the western painting world.

Westerners have known Chinese literary stories for a long time. These stories spread to the West with the word of mouth of business travelers on the "Silk Road", such as some Chinese stories in the Arabian story collection "Arabian Nights" written in the 10th century A.D. In the 18th and 19th centuries, with the increase of trade between the East and the West, a large number of Chinese novels were translated to the West, the most famous of which was "The Legend of a Good Qiu", which has published more than ten versions in succession. Goethe greatly appreciated the harmony between man and man, and the harmony between man and nature shown in The Good Qiu Zhuan: "Where they are, nature always lives together around the characters." After that, many famous Chinese classical novels, such as The Romance of the Three Kingdoms, The Water Margin, A Dream of Red Mansions, have been translated and introduced to the West. In addition, the concise aesthetics of Chinese ancient poetry, which is vivid and concise, has a direct impact on imagist poetry, and has opened a new realm of American poetry.

China's ancient institutional civilization, scientific and technological ideas and achievements also have a great impact on the West. With the growing prosperity of Western Sinology, the presentation and interpretation of Westerners' own influence on Chinese culture become more and more detailed and specific.

Cultural exchanges are always two-way, and Chinese culture will make greater contributions to the world

Cultural exchange has always been two-way, and cultural influence is often mutual. Contact and collision, exclusion and selection, absorption and transformation, and different cultures continue to exchange and blend in this process. Western culture has a profound impact on Chinese society, but through understanding the impact of traditional Chinese culture on the West, we also see the positive role that China's understanding of traditional culture has played in the western world. Even in modern times, with the torrent of "Western learning spreading to the east", Chinese traditional culture has also been continuously infiltrated into the blood of western culture, and converged into another scenic line of "Eastern learning spreading to the west".

Since the 20th century, with the unprecedented development of western science and technology and productivity, the cultural crisis facing the western world has become increasingly serious. This has prompted many western intellectuals to rethink the disadvantages of western culture, and have turned their eyes to the ancient East, hoping to draw nourishment from Chinese civilization. The famous dialogue between Toynbee and Ikeda Daisao places high hopes on the new way out for human civilization given by Chinese culture.

To grasp the influence of Chinese traditional culture on the West is not blind arrogance, nor call for cultural departmentalism, but to maintain due respect and pride for Chinese traditional culture, strengthen the belief in its own cultural vitality and development prospects in cultural comparison, form cultural self-consciousness, and get rid of cultural self-confidence; We should not belittle ourselves and worship different cultures excessively, but seek common ground while reserving differences, symbiosis and complementarity in the foreign exchange of Chinese culture, so as to achieve cultural self-improvement and enhance the international influence of Chinese culture. It can be believed that in the near future, with the increasing development of China's economy and society and the further improvement of its international status, Chinese culture will make new and greater contributions to human civilization.

Zhuge Changqing believed that Fuxi Nvwa, the ancestor of our Chinese nation, founded Chinese culture, and later passed on and innovated from generation to generation through Yan Emperor, Huang Emperor, Yao, Shun, Yu, King Wen of Zhou, Li Shimin, Qianlong and so on, forming today's cultural foundation. As children of China, we must continue to spread Chinese culture, which is the sincere return and gratitude to our ancestors.

The Chinese culture is broad and profound, not to mention the traditional Chinese metaphysics, such as the following: taking the fate of heaven, the Big Dipper, the heaven and earth, the Yellow Emperor's internal classics, Jiang Taigong's culture, Guiguzi's culture, the Eight Diagrams of the Book of Changes, the Qimen Dunjia, the literary and military strategies, etc.

I remember reading a news report before that there was a 7-year-old child prodigy in Israel, a reincarnation of "born knowing", who could speak more than a dozen languages. When the reporter asked him, can you speak Chinese? He said that he could speak, but only a few words. The reporter asked him why? He said that Chinese characters are too difficult. Zhuge Changqing believes that Chinese characters are not too difficult, but because they contain the way of heaven and earth, and are a super mysterious culture that directly absorbs the energy and wisdom of the universe.

Here, let's talk about the founders of Chinese characters, Fu Xi and Cang Jie.

1、 Chinese characters originated from Fuxi, the first ancestor of mankind.

Fu Xi, the surname of Feng, also writes Mi Xi, Pao Xi, Bao Xi, and Fu Xi, also known as Wei Huang, Huang Xi, and Tai Hao. In historical records, it is called Fu Xi.

From the perspective of traditional culture, Fuxi Nuwa was entrusted by the Jade Emperor to be born on earth, open up the Chinese nation, create Chinese culture, and make contributions to the harmonious development of the earth. Fuxi also undertook the mysterious mission of spreading the universe.

Fu Xi is the ancestor of the Chinese nation's humanities. According to the changes of everything in the world, he invented and created the eight divinations, and created the writing to end the history of "tying ropes to record events".

Research on Traditional Culture: Origin and Evolution of Chinese Characters (Picture)

The Chinese nation is a wise nation. Chinese culture has a long history.

----Zhuge Changqing

amitabha.

Blessed life is limitless.

Fu Xi's ancestor, Nvwa's mother.

The Chinese nation is a wise nation.

Chinese culture has a long history and is admirable.

Everyone who comes into contact with the culture of the Chinese nation will sigh.

According to historical research, many western cultures have learned from Chinese culture.

For example, during the Ming and Qing Dynasties, many Western missionaries came to China and saw the mystery of Chinese culture, so they copied, copied and described many essence and quietly sent people back to the West.

For example, China's Eight Diagrams of the Book of Changes, Chinese literature, opera and calligraphy culture, Chinese feng shui culture, Chinese painting art, Chinese ceramics, Chinese characters, and Chinese martial arts have had a great impact on the West. Now many western buildings are carved with the Eight Diagrams. Many western buildings have adopted the concept of Chinese geomantic culture.

After learning Chinese culture, many Westerners further innovate and promote the development of western culture.

Mr. Chen Wei, a professor of Shanghai Normal University, published the article "On the Influence of Chinese Culture on the West" in People's Daily, and made a lot of explanations. Zhuge Changqing believes that this article basically summarizes the great influence of our traditional Chinese culture on the West.

Professor Chen Wei pointed out that in ancient times, China's economic and social development has always been at the forefront of the world. Chinese people have always been confident and proud of their cultural traditions, cultural values and cultural influence. In modern times, there has been some cultural inferiority complex, believing that Chinese culture is not as good as the West. There are both historical and practical reasons for cultural inferiority since modern times. From the perspective of historical reasons, after the Opium War, the western culture attacked the traditional Chinese culture with the help of "strong ships and sharp guns". The traditional Chinese culture declined and the traditional value system was greatly impacted. In this case, some people advocate the theory of "total westernization", and believe that Chinese traditional culture can not compare with western culture in any way. This cultural inferiority complex still affects people's psychology at present. From the perspective of practical reasons, with the in-depth development of economic globalization, Western culture as a strong culture has a profound impact on the values, ways of thinking, aesthetic tastes, etc. of Chinese people. Some people are not confident about Chinese traditional culture and enhance the international influence of Chinese culture, and some even maliciously depreciate their excellent traditional culture.

In this case, to rebuild the cultural confidence of Chinese people, we should not only explore the broad, profound, open and inclusive nature of Chinese traditional culture, but also systematically comb the evolution of Chinese traditional culture, make scientific judgments on its reasonable factors and intrinsic values, especially make appropriate analysis and evaluation of the impact of Chinese traditional culture on the West. This is the weakness of current academic circles, and it is also easy to be ignored by Chinese people. In fact, from a historical point of view, Chinese traditional culture has infiltrated into western culture in an all-round way with its contact with the West, and even affected the trend of western culture.

Chinese culture has deeply influenced western culture, and its influence is even greater than the mutual influence between western countries. This article discusses the influence of Chinese culture on the West. In a broad sense, it mainly talks about the extensive influence of ancient Chinese material and spiritual civilization on the West.

In terms of material civilization, the influence of China's silk and porcelain on Europe is universally recognized. This influence is not only material, but also contains rich spiritual values. From the 8th century BC to the 2nd century AD, Chinese silk was continuously transported to Europe through the "Silk Road". During this period, Chinese culture had the first major impact on the West through the silk trade. Around the 5th century BC, Chinese silk fabrics appeared on Greek statues as the clothing of ancient Greek nobles. At that time, Westerners admired Chinese silk and called China "Siris", that is, "the country of silk". The thin, soft, light and shapeless characteristics of silk are consistent with the requirements of the pursuit of human freedom established by the ancient Greeks and respected by future generations of Westerners. Silk has made a good interpretation of western aesthetic concepts with its material characteristics. From the Renaissance to modern times, silk has always been a staple of China's exports to the West. Porcelain is another major carrier reflecting the influence of Chinese culture on the West. Porcelain production has a long history in China, but it is extremely expensive in Europe because of its relatively fragile and inconvenient land transportation characteristics. Some upper class people take it as their capital to show off. Later, as the main trade channel between the East and the West changed from land to sea, it provided a realistic possibility for the West to import large quantities of Chinese porcelain. By the end of the 17th century, the number of porcelain shipments from Guangzhou, Quanzhou and other places reached 3 million each year. The exquisite, delicate and gorgeous style displayed by Chinese porcelain gave birth to the "Rococo style" that rose in France. Even western scholars have to admit that "the combination of Rococo art style and ancient Chinese culture, the whole secret of which lies in the delicate and subtle sentiment reflected by porcelain."

In terms of spiritual civilization, the influence of ancient Chinese philosophy and art on the West is universally recognized.

The ideological theories of Confucianism, Taoism and Zen have been influencing the western ideological circles from the Enlightenment era to the present. The influence of literature and art is particularly significant. Yuan Zaju was once popular in Europe in the 18th century, and it became fashionable to use Chinese materials to create dramas. For example, the forerunners of the European enlightenment era borrowed Chinese dramas to promote the rational spirit of enlightenment. The Chinese Orphan adapted by Voltaire was staged in France, making a sensation in Europe. The major influence of the artistic techniques of Chinese opera on the West was mainly in the 20th century, represented by the influence of Chinese Peking Opera on Brecht's "expressionist" drama theory. Brecht has long wanted to break through the barriers of western drama theory, but lacks practical evidence. When he saw the Peking Opera performed by Mei Lanfang, the stage practice focusing on the performer's performance power and the virtuality and stylization of performance techniques inspired him to put forward two important "expressionist" theoretical principles of stage practice: "separation effect" and "breaking the fourth wall", thus establishing the position of "expressionist" in drama. Drama (opera) performance, the West attaches importance to "experience", and the East attaches importance to "performance". Brecht's brilliance lies in using the strengths of Chinese opera to make up for the shortcomings of western drama performance, which has achieved great success. When Chinese paintings using ink painting on rice paper appeared in the West, these Chinese paintings, which are good at painting landscapes, flowers and birds, and animals, just complement the western oil paintings, which are good at painting people, and immediately attracted Westerners.

The style of Chinese painting has gradually influenced the French painting world, and many landscape paintings with Chinese style have emerged. The impressionistic style of Chinese painting really penetrated into the creation aesthetics of western painters. It was at the turn of the 19th and 20th centuries that successful painters such as Matisse and Picasso. Matisse's abstract school was developed from the "Oriental style" of his teacher Moro's Fauvism, and Picasso's cubism evolved in the direction of "Rococo style". Other western modernist painters with freehand brushwork as their main theme were also more or less influenced by the style of Chinese painting, and they created a new atmosphere in the western painting world.

Westerners have known Chinese literary stories for a long time. These stories spread to the West with the word of mouth of business travelers on the "Silk Road", such as some Chinese stories in the Arabian story collection "Arabian Nights" written in the 10th century A.D. In the 18th and 19th centuries, with the increase of trade between the East and the West, a large number of Chinese novels were translated to the West, the most famous of which was "The Legend of a Good Qiu", which has published more than ten versions in succession. Goethe greatly appreciated the harmony between man and man, and the harmony between man and nature shown in The Good Qiu Zhuan: "Where they are, nature always lives together around the characters." After that, many famous Chinese classical novels, such as The Romance of the Three Kingdoms, The Water Margin, A Dream of Red Mansions, have been translated and introduced to the West. In addition, the concise aesthetics of Chinese ancient poetry, which is vivid and concise, has a direct impact on imagist poetry, and has opened a new realm of American poetry.

China's ancient institutional civilization, scientific and technological ideas and achievements also have a great impact on the West. With the growing prosperity of Western Sinology, the presentation and interpretation of Westerners' own influence on Chinese culture become more and more detailed and specific.

Cultural exchanges are always two-way, and Chinese culture will make greater contributions to the world

Cultural exchange has always been two-way, and cultural influence is often mutual. Contact and collision, exclusion and selection, absorption and transformation, and different cultures continue to exchange and blend in this process. Western culture has a profound impact on Chinese society, but through understanding the impact of traditional Chinese culture on the West, we also see the positive role that China's understanding of traditional culture has played in the western world. Even in modern times, with the torrent of "Western learning spreading to the east", Chinese traditional culture has also been continuously infiltrated into the blood of western culture, and converged into another scenic line of "Eastern learning spreading to the west".

Since the 20th century, with the unprecedented development of western science and technology and productivity, the cultural crisis facing the western world has become increasingly serious. This has prompted many western intellectuals to rethink the disadvantages of western culture, and have turned their eyes to the ancient East, hoping to draw nourishment from Chinese civilization. The famous dialogue between Toynbee and Ikeda Daisao places high hopes on the new way out for human civilization given by Chinese culture.

To grasp the influence of Chinese traditional culture on the West is not blind arrogance, nor call for cultural departmentalism, but to maintain due respect and pride for Chinese traditional culture, strengthen the belief in its own cultural vitality and development prospects in cultural comparison, form cultural self-consciousness, and get rid of cultural self-confidence; We should not belittle ourselves and worship different cultures excessively, but seek common ground while reserving differences, symbiosis and complementarity in the foreign exchange of Chinese culture, so as to achieve cultural self-improvement and enhance the international influence of Chinese culture. It can be believed that in the near future, with the increasing development of China's economy and society and the further improvement of its international status, Chinese culture will make new and greater contributions to human civilization.

Zhuge Changqing believed that Fuxi Nvwa, the ancestor of our Chinese nation, founded Chinese culture, and later passed on and innovated from generation to generation through Yan Emperor, Huang Emperor, Yao, Shun, Yu, King Wen of Zhou, Li Shimin, Qianlong and so on, forming today's cultural foundation. As children of China, we must continue to spread Chinese culture, which is the sincere return and gratitude to our ancestors.

The Chinese culture is broad and profound, not to mention the traditional Chinese metaphysics, such as the following: taking the fate of heaven, the Big Dipper, the heaven and earth, the Yellow Emperor's internal classics, Jiang Taigong's culture, Guiguzi's culture, the Eight Diagrams of the Book of Changes, the Qimen Dunjia, the literary and military strategies, etc.

I remember reading a news report before that there was a 7-year-old child prodigy in Israel, a reincarnation of "born knowing", who could speak more than a dozen languages. When the reporter asked him, can you speak Chinese? He said that he could speak, but only a few words. The reporter asked him why? He said that Chinese characters are too difficult. Zhuge Changqing believes that Chinese characters are not too difficult, but because they contain the way of heaven and earth, and are a super mysterious culture that directly absorbs the energy and wisdom of the universe.

Here, let's talk about the founders of Chinese characters, Fu Xi and Cang Jie.

1、 Chinese characters originated from Fuxi, the first ancestor of mankind.

Fu Xi, the surname of Feng, also writes Mi Xi, Pao Xi, Bao Xi, and Fu Xi, also known as Wei Huang, Huang Xi, and Tai Hao. In historical records, it is called Fu Xi.

From the perspective of traditional culture, Fuxi Nuwa was entrusted by the Jade Emperor to be born on earth, open up the Chinese nation, create Chinese culture, and make contributions to the harmonious development of the earth. Fuxi also undertook the mysterious mission of spreading the universe.

Fu Xi is the ancestor of the Chinese nation's humanities. According to the changes of everything in the world, he invented and created the eight divinations, and created the writing to end the history of "tying ropes to record events".

Zhuge Changqing believes that Fuxi's ancestor was the founder of Chinese culture. He created the eight trigrams prediction system, the leader responsibility system, the Chinese culture system, the Kyushu system, the magic magic magic to ensure peace, the worship of heaven and earth gods communication culture, the tribal magic protection system, the twelve zodiac watch system, the enfeoffment system, the marriage system, the music system, the enfeoffment system of family children, the New Year's Eve culture The Chinese New Year firecracker culture has become the cultural source of the Chinese nation.

He created the earliest Chinese characters with the eight trigrams and hieroglyphic divinity: heaven, earth, wind, thunder, water, fire, mountains and lakes; China, water, mountains, Kyrgyzstan, etc. Since Fu Xi wanted to study and deal with the overall plan for the development of the Chinese nation for the rest of the world, deal with the relationship between heaven and earth, and deal with the expansion of living space for future generations, there was no time for continuous research after the creation of the basic text.

The people of Fuxi era have just gone through the stage of transforming from a god to a human being, and the basic life on the earth is still in the preliminary research stage. In order to record things, they have adopted the methods of "tying records with ropes", "drawing records on rocks with stones", "recording bamboo", "accumulating records with stones", "oral records", and so on.

The Eight Diagrams is a basic philosophical concept established by Fuxi's forefather to absorb the energy of the universe. It is a theory of yin and yang derived from the wisdom of the universe. The so-called Eight Diagrams are the eight diagrams. The Eight Diagrams are drawn by Fuxi, Tai Hao. The Eight Diagrams are actually the earliest characters and are written symbols.

The Eight Diagrams represent the culture of the Book of Changes and permeate all fields of East Asian culture. According to the folk legend of the Han nationality, the Eight Diagrams originated from Fu Xi, the head of the Three Emperors and Five Emperors. Fu Xi began to draw the Eight Diagrams at the Tianshui Guatai Mountain, and opened the sky with one painting.

The Eight Diagrams represent the Yin and Yang system in which things change themselves. The "one" represents Yang, and the "--" represents Yin. Three such symbols are combined in parallel according to the changes of Yin and Yang in nature, forming eight different forms, called the Eight Diagrams.

Don't have too much mystery about the Eight Diagrams. It is the same tool used to deduce the relationship between all kinds of things in the world space and time as yin, yang and five elements in the Han culture.

Each of the eight trigrams represents a certain thing.

Qian represents the sky, Kun represents the earth, Xun (x ù n) represents the wind, earthquake represents the thunder, Kan represents the water, Li represents the fire, Gen (g è n) represents the mountain, and Dui represents the Ze.

Fuxi's forefather, who had great powers, directly observed the laws of the universe with great powers, and passed the Eight Diagrams to our future generations for the sake of the spread of the Chinese nation throughout the ages.

The magic Eight Diagrams, like eight infinite invisible big pockets, put everything in the universe, and the Eight Diagrams match each other and become sixty-four Diagrams, which are used to symbolize various natural and human phenomena. The Eight Diagrams have been perfected by King Wen of Zhou, Duke of Zhou, Confucius and the Eight Diagrams experts of all dynasties, forming today's increasingly complete prediction system of the Eight Diagrams of the Book of Changes. The Eight Diagrams measure the sky, the earth, and human affairs.

2、 The Chinese character system was founded by Cang Jie, the historian of the Yellow Emperor

The Chinese nation has developed into the era of the Yellow Emperor.

The Yellow Emperor (2717 BC - 2599 BC): the leader of the ancient Chinese tribal alliance and the co-owner of the ancient Chinese nation. It is honored as the "ancestor of humanity" of China. He was the son of Shaodian and Fubao. His surname was Gongsun. Later, he changed his surname to Ji, so he was called Ji Xuanyuan. Located at the hill of Xuanyuan, it is called Xuanyuan, and its capital was founded in Youxiong [1], also known as Youxiong. Some people also call it "Di Hong".

According to the history, the Yellow Emperor was called the Yellow Emperor because of his virtue. The great achievements of the Yellow Emperor in unifying China by unifying the Huaxia tribe and conquering the Dongyi and Jiuli nationalities are recorded in history. During the reign of the Yellow Emperor, he sowed hundreds of grains of grass and trees, vigorously developed

传统文化研究：中华汉字的起源和演变（图） 
中华民族，是一个智慧民族。中华文化，源远流长。

---- 诸葛长青

   阿弥陀佛。

   福生无量天尊。

   伏羲先祖、女娲娘娘。

   中华民族，是一个智慧民族。

   中华文化，源远流长，令人敬仰。

   每一个接触中华民族文化的人，都无不感叹。

   根据历史研究，西方文化很多都是借鉴学习了中国的文化。

   譬如：明清时候，很多西方传教士来到中国，看到中国文化神秘莫测，就把许多精华复制、抄写、描绘，悄悄派专人送回西方。

   譬如：中国的周易八卦图、中国的文学戏曲书法文化、中国的风水文化、中国的绘画艺术、中国的陶瓷、中国的文字、中国的武术等等对西方产生巨大影响。现在很多西方建筑上，都刻着八卦图。很多西方建筑，都采用了中国风水文化理念。

   很多西方人学习中华文化后，进一步创新，推动发展了西方文化。

   上海师范大学教授陈伟先生在《人民日报》发表了《谈中国文化对西方的影响》一文，做过很多阐述。诸葛长青认为这篇文章基本概括了我们中国传统文化对西方的巨大影响力。

   陈伟教授指出：在古代，中国经济社会发展一直走在世界前列，中国人对自己的文化传统、文化价值、文化影响一直充满自信和自豪。近代出现了一些文化自卑，认为中华文化不行，不如西方。近代以来的文化自卑既有历史原因，也有现实原因。从历史原因看，鸦片战争后，西方文化借“坚船利炮”正面侵袭中国传统文化，中国传统文化式微，传统价值体系受到巨大冲击。在此情形下，有人宣扬“全盘西化”论，认为中国传统文化无论哪一方面都比不上西方文化。这种文化自卑在当下仍对人们的心理产生影响。从现实原因看，随着经济全球化深入发展，西方文化作为强势文化对国人的价值观念、思维方式、审美情趣等产生深刻影响，一些人对中国传统文化、对增强中华文化的国际影响力感到不自信，有的甚至恶意贬低自己的优秀传统文化。

   在这种情况下，重建国人的文化自信，既要宏观探讨中国传统文化的博大精深和开放包容，也要系统梳理中国传统文化的衍变历程，对其合理因素和内在价值有科学的判断，特别是要对中国传统文化对西方的影响作出恰当分析和评价。这一点是当下学术界的薄弱之处，也容易为国人所忽视。其实，从历史上看，中国传统文化随着与西方的接触而全方位渗透入西方文化，甚至影响过西方文化的走向。

   中国文化曾深刻影响西方文化，其影响有的甚至大于西方国与国之间的相互影响。这里讨论中国文化对西方的影响，取广义，主要谈谈中国古代物质文明和精神文明对西方的广泛影响。

   物质文明方面，中国的丝绸、瓷器等对欧洲的影响举世公认。这种影响不只是物质的，而且包含丰富的精神价值。自公元前8世纪到公元2世纪，中国丝绸源源不断通过“丝绸之路”运往欧洲。这一时期，通过丝绸贸易，中国文化对西方产生了第一次重大影响。公元前5世纪左右，中国丝绸织品作为古希腊贵族的服装出现在希腊雕像上。当时西方人对中国丝绸赞叹不已，把中国称作“赛里斯”，即“丝的国度”。丝绸的薄、软、轻和随物赋形的特质，与古希腊人树立的并为后代西方人所推崇的追求人体自由的要求相一致。丝绸以其物质特性对西方美学理念作了很好诠释。从文艺复兴时期直至近现代，丝绸始终是中国向西方出口的大宗物品。瓷器是体现中国文化对西方影响的又一主要载体。瓷器生产在中国有很长的历史，但由于其比较脆弱、不便陆运的特性，在欧洲极其昂贵，个别上层人物以拥有它为炫耀的资本。后来，随着东西方的主要贸易通道由陆上改为了海上，为西方大批进口中国瓷器提供了现实可能性。到17世纪末，每年从广州、泉州等地发出的瓷器船货达300万件之多。中国瓷器所表现出的精巧、细腻、华丽的风格催生了崛起于法国的“洛可可风格”，连西方学者也不得不承认“洛可可艺术风格和古代中国文化的契合，其全部秘密就在于瓷器所体现出来的纤细入微的情调中。” 
   精神文明方面，中国古代哲学和艺术对西方的影响一样举世公认。

   儒家、道家、禅宗等的思想理论，一直影响着从启蒙主义时代至今的西方思想界。文学艺术的影响力尤为显著。元杂剧在18世纪曾一度风靡欧洲，借用中国素材来创作戏剧成为时尚。如欧洲启蒙时代的先行者就借用中国戏剧来高扬启蒙理性精神，伏尔泰改编的《中国孤儿》在法国上演，轰动欧洲。中国戏曲的艺术手法对西方的重大影响主要在20世纪，以德国人布莱希特的“表现派”戏剧理论受中国京剧的影响为代表。布莱希特长期以来一直想突破西方戏剧理论的藩篱，但缺少实践的佐证。当他看到梅兰芳表演的京剧时，那种以演员的表演力为重心的舞台实践和虚拟性、程式化的表现手法使他灵感迸发，提出舞台实践的“间离效果”和“打破第四堵墙”两条重要的“表现派”理论准则，从而奠定了戏剧中“表现派”的地位。戏剧（戏曲）表演，西方重“体验”，东方重“表现”，布莱希特的高明之处就在于以中国戏曲的长处弥补西方戏剧表演的不足，才取得了巨大的成功。当运用水墨画在宣纸上的中国画出现在西方时，这些以画山水、花鸟、动物见长的中国画恰好和以画人物见长的西方油画形成互补，一下子就吸引了西方人。

   中国画的风格对法国画坛逐渐产生了影响，出现了不少具有中国风格的风景画。中国画的写意风格真正渗入到西方画家的创作美学中，是在19—20世纪之际，成功的画家有马蒂斯、毕加索等。马蒂斯的抽象派是从他老师莫罗的野兽派的“东方风格”中发展而来的，毕加索的立体派是按照“洛可可风格”的方向进化而成。其他以写意为主旨的西方现代派画家，也或多或少受到中国画风格的影响，他们开创了西方画坛的新气象。

   西方人很早就知道中国的文学故事，这些故事是随着“丝绸之路”上商旅的口口相传辗转流传到西方的，例如成书于公元10世纪的阿拉伯故事集《一千零一夜》中的一些中国故事等。在18—19世纪，随着东西方贸易的增加，大批中国小说被翻译到西方，其中最有名的当为《好逑传》，陆续出版了十多种译本。歌德对于《好逑传》中表现出来的人与人的和谐、人与自然的协调大为赞赏：“在他们那里，自然界总是在人物形象的周围一同生活着。”这以后，中国许多著名古典小说如《三国演义》、《水浒传》、《红楼梦》等都被译介到西方。另外，中国古诗生动简练、意象鲜明的简约美学对意象派诗歌产生了直接影响，开启了美国诗歌新境界。

   中国古代的制度文明、科技思想及其成果等对西方影响也是很大的。随着西方汉学日益勃兴，西方人对中国文化给予自身影响的呈现和阐释越来越周详和具体。

   文化交流从来都是双向的，中国文化将对世界作出更大贡献

   文化交流从来都是双向的，文化的影响也往往是相互的。接触与碰撞、排斥与选择、吸收与改造，不同文化在这一过程中不断交流交融。西方文化深刻影响着中国社会，但通过了解中国传统文化对西方的影响，我们也看到了中国认识传统文化曾对西方世界所发挥的积极作用。即使到了近代，伴随“西学东渐”的滚滚洪流，中国传统文化也源源不断地渗入西方文化的血脉，汇聚成“东学西渐”的又一道风景线。

   20世纪以来，伴随西方科学技术和生产力前所未有的发展，西方世界所面临的文化危机也日益严重。这促使不少西方知识分子开始重新思考西方文化的弊端，纷纷把目光投向古老的东方，希望从中华文明中汲取养料。汤因比与池田大作的著名对话，就对中国文化给予人类文明新出路寄予厚望。

   把握中国传统文化对西方的影响，既不是盲目自大，也不是号召文化本位主义，而是要对中国传统文化保持应有的礼敬和自豪，在文化比较中坚定对自身文化生命力和发展前景的信念，形成文化自觉，摆脱文化不自信的心态；不妄自菲薄，过分崇拜异文化，而要在中华文化对外交流中求同存异、共生互补，达到文化自强，增强中华文化的国际影响力。可以相信，在不久的将来，随着中国经济社会的日益发展，国际地位进一步提高，中国文化对人类文明将作出新的更大贡献。

   诸葛长青认为，我们中华民族的祖先伏羲女娲创立了中华文化，后来经历了炎帝、黄帝、尧、舜、禹、周文王、李世民、乾隆等等代代传承创新，形成了今日的文化根基。我们作为中华儿女，必须持续传播中华文化，这样才是对祖先的诚心回报和感恩。

   中华文化博大精深，不说奉天承运、北斗七星、天地运筹、黄帝内经、姜太公文化、鬼谷子文化、周易八卦、奇门遁甲、文韬武略等等国学玄学，就拿这中华汉字，就是神奇莫测。

   记得以前看过一个新闻报道，以色列有个7岁神童，属于“生而知之者”的转世灵通，会说十几种语言。当记者问他，你会说中国汉语吗？他说，会说，但是只能说几个字。记者问他为何？他说，中国汉字太难了。诸葛长青认为，中国汉字不是太难，而是因为中华汉字包含了天地之道，是直接汲取宇宙能量智慧的超级神秘文化。

   说到这里，就要说说汉字的创立者伏羲和仓颉。

   一、中华文字最早起源人类始祖伏羲。

   伏羲，风姓，又写作宓羲、庖牺、包牺、伏戏，亦称牺皇、皇羲、太昊，史记中称伏牺。

   从传统文化研究，伏羲女娲受玉皇大帝委托，降生人间，开辟中华民族，创立中华文化，为地球的和谐发展做出贡献。伏羲还承担传播天地宇宙大道的神秘使命。

   伏羲是中华民族人文始祖，他根据天地万物的变化，发明创造了占卜八卦，创造文字结束了“结绳记事”的历史。

   诸葛长青研究认为，伏羲先祖是中华文化的创立者，他创立的八卦预测体系、首领负责制、中华文化体系、大九州体系、神通法术保平安、敬拜天地神灵沟通文化、部落神通护法制度、十二生肖值班制度、分封天下开疆扩土制度、结婚制度、音乐制度、家族子女分封制度、过年守夜文化、过年爆竹文化等等，成为中华民族的文化源泉。

   他用创立了八卦符号和象形神法创立了中华最早的文字：天、地、风、雷、水、火、山、泽；中、水、山、吉等等。由于伏羲要研究处理中华民族万世发展的整体规划、要处理天庭、地府、人间关系，要处理后世子孙拓展生活空间等等，创立了基本文字后，就没有时间持续研究了。

   伏羲时代的人，刚刚经历了从天神变成人的阶段，基本的地球生活还处于初步研究阶段，为了记录事情，采取了用“绳子打结记录”、“用石头画在岩石记录”、“刻录竹子”、“用石头累加记录”、“口耳相传记录”等等。

   八卦是伏羲先祖建立汲取宇宙能量的基本哲学概念，是来自宇宙智慧的阴阳学说，所谓八卦就是八个卦相，八卦是由太昊伏羲氏，也就是伏羲画出的，八卦其实是最早的文字，是文字符号。

   八卦代表易学文化，渗透在东亚文化的各个领域。根据汉族民间传说，八卦起源于三皇五帝之首的伏羲，伏羲氏在天水卦台山始画八卦，一画开天。

   八卦表示事物自身变化的阴阳系统，用“一”代表阳，用“- -”代表阴，用三个这样的符号，按照大自然的阴阳变化平行组合，组成八种不同形式，叫做八卦。

   对于八卦不要有过多神秘色彩， 它在汉族文化中与阴阳、五行一样用来推演世界空间时间各类事物关系的工具。

   八卦每一卦形代表一定的事物。

   乾代表天，坤代表地，巽(xùn)代表风，震代表雷，坎代表水，离代表火，艮(gèn)代表山，兑代表泽。

   伏羲先祖神通广大，用大神通直接观察天地宇宙规律，为了中华民族万世流传，把八卦传给了我们后世子孙。

   神奇的八卦，就像八只无限无形的大口袋，把宇宙中万事万物都装进去了，八卦互相搭配又变成六十四卦，用来象征各种自然现象和人事现象，基于当今社会人事物繁多。八卦经过周文王、周公、孔子和历代八卦高人的完善，形成了今日日趋完整的周易八卦预测体系。八卦上测天、下测地，中测人事。

        二、中华汉字体系有黄帝史官仓颉创立

   话说中华民族发展到黄帝时代。

   黄帝（公元前2717年-公元前2599年）：古华夏部落联盟首领，中国远古时代华夏民族的共主。被尊为中华“人文初祖”。他是少典与附宝之子，本姓公孙，后改姬姓，故称姬轩辕。居轩辕之丘，号轩辕氏，建都于有熊[1] ，亦称有熊氏。也有人称之为“帝鸿氏”。
   史载黄帝因有土德之瑞，故号黄帝。黄帝以统一华夏部落与征服东夷、九黎族而统一中华的伟绩载入史册。黄帝在位期间，播百谷草木，大力发展生产，始制衣冠、建舟车、制音律、创医学等。
   黄帝也是一个继承伏羲先祖文韬武略精神的开创者。他注重中华民族文化的体系完善。黄帝时是上古发明创造较多的时期，那时不仅发明了养蚕，还发明了舟、车、弓驽、镜子和煮饭等。

   黄帝还十分重视社会管理方式的发明与创造。由于农业发展,较长时间的定居成为可能,这就使得社会基本单元比较稳定,易于管理.黄帝发明了适合于部族居住的宫室,与炎帝、蚩尤战争之后将都城建于涿鹿之阿,即今之涿鹿县黄帝城遗址.黄帝时期开始出现了与平原农业水平相关的社会管理制度的萌芽。

  《左传·昭公》说黄帝的官制云：“昔者黄帝氏以云纪,故为云师而云名.”后来《史记·五帝本纪》载：“(黄帝)官名皆以云命,为云师.置左右大监,监于万国……举风后、力牧、常先、大鸿以治民.”应劭曰：“黄帝受命,有云瑞,故以云纪事也.春官为青云,夏官为缙云,秋官为白云,冬官为黑云,中官为黄云.”
　　还有传说黄帝任用“四辅、三公、六卿、三少、二十有四官,凡百二十官,有秩以之共理,而视四民”。

   到了黄帝时代，生活忙碌、部落事情多、很多事情靠绳子、摆石头等已经无法记录了，于是，黄帝特意安排史官仓颉[jié]负责，研究创立完善的中华汉字体系。

   仓颉，号史皇氏，轩辕黄帝史官，天生智慧，超越常人，他生有“双瞳四目”。上观察天、下观察地、中间观察人事，成为黄帝的神奇助手。

   仓颉根据黄帝安排，把流传于先民中的文字加以搜集、整理和使用，在汉字创造的过程中起了重要作用，他根据野兽的脚印研究出了汉字，为中华民族的繁衍和昌盛作出了不朽的功绩。被后人尊为“造字圣人”。 

  《吕氏春秋》记载：“奚仲作车，仓颉作书”。相传仓颉是黄帝的史官，是古代整理文字的一个代表人。

  《说文解字》记载：仓颉是黄帝时期造字的史官，被尊为“造字圣人”。
   历史记载，目有重瞳者，都是神奇之人。中国史书上记载只有8个人，虞舜、仓颉、项羽、重耳、高洋、吕光、鱼俱罗，还有李煜。
   仓颉对汉字文化开始了细致研究，他根据伏羲先祖等前人流传下来的汉字进行仔细研究。诸葛长青在上面说过，伏羲先祖以来，人们记录事情多是用“绳子打结记录”、“用石头画在岩石记录”、“刻录竹子”、“用石头累加记录”、“口耳相传记录”等等记录，其中，以绳子记录为多。

   单纯靠绳子中国汉字经历了在此以前，人们结绳记事，即大事打一大结，小事打一小结，相连的事打一连环结。后又发展到用刀子在木竹上刻以符号作为记事。随着历史的发展，文明渐进，事情繁杂，名物繁多，用结和刻木的方法，远不能适应需要，这就有创造文字的迫切要求。

   仓颉开始研究，如何用文字代替原始记录方法，于是“始作书契，以代结绳”。仓颉造字饭的锅与甑等，在这些发明创造影响下，仓颉也决心创造出一种文字来。
   有一年，仓颉到南方巡狩，以“羊马蹄印”为源灵感。
   仓颉日思夜想，到处观察，看尽了天上星宿的分布情况、地上山川脉络的样子、鸟兽虫鱼的痕迹、草木器具的形状，描摹绘写，造出种种不同的符号，并且定下了每个符号所代表的意义。他按自己的心意用符号拼凑成几段，拿给人看，经他解说，倒也看得明白。仓颉把这种符号叫做"字"。
   有一次，仓颉就是从绳结记录的史书给黄帝提供错误的史实，致使黄帝在和炎帝的边境谈判中失利。事后，仓颉愧而辞官云游天下，遍访录史记事的好办法。三年后他回到故乡白水杨武村，独居深沟“观奎星圜曲之式，察鸟兽蹄爪之迹”，整理得到的各种素材，创造出了代表世间万物的各种符号。他给这些符号起了个名字，就叫做字。
   相传仓颉在黄帝手下当官。那时，当官的可并不会显得威风，和平常人一样，只是分工不同。

   随着部落的扩大，资产越来越多，于是，黄帝又分派仓颉专门管理圈里牲口的数目、屯里食物的多少。诸葛长青研究认为，为何今天人们把储存粮食的地方叫做“仓库”？就源于仓颉管理古时候的粮仓储存等有关系。

   仓颉这人挺聪明，做事又尽力尽心，很快熟悉了所管的牲口和食物，心里都有了谱，难得出差错。可慢慢的，牲口、食物的储藏在逐渐增加、变化，光凭脑袋记不住了。当时又没有文字，更没有纸和笔。怎么办呢？仓颉犯难了。
仓颉整日整夜地想办法，先是在绳子上打结，用各种不同颜色的绳子，表示各种不同的牲口、食物，用绳子打的结代表每个数目。但时间一长久，就不奏效了。这增加的数目在绳子上打个结很便当，而减少数目时，在绳子上解个结就麻烦了。仓颉又想到了在绳子上打圈圈，在圈子里挂上各式各样的贝壳，来代替他所管的东西。增加了就添一个贝壳，减少了就去掉一个贝壳。这法子挺管用，一连用了好几年。
   黄帝见仓颉这样能干，叫他管的事情愈来愈多，年年祭祀的次数，回回狩猎的分配，部落人丁的增减，也统统叫仓颉管。仓颉又犯愁了，凭着添绳子、挂贝壳已不抵事了。怎么才能不出差错呢？
   这天，他参加集体狩猎，走到一个三岔路口时，几个老人为往哪条路走争辩起来。一个老人坚持要往东，说有羚羊；一个老人要往北，说前面不远可以追到鹿群；一个老人偏要往西，说有两只老虎，不及时打死，就会错过了机会。仓颉一问，原来他们都是看着地上野兽的脚印才认定的。仓颉心中猛然一喜：既然一个脚印代表一种野兽，我为什么不能用一种符号来表示我所管的东西呢？他高兴地拔腿奔回家，开始创造各种符号来表示事物。果然，把事情管理得头头是道。
   黄帝知道后，大加赞赏，命令仓颉到各个部落去传授这种方法。渐渐地，这些符号的用法，全推广开了。就这么，形成了文字。
   还有相传说仓颉造字成功，发生了怪事，那一天白日竟然下粟如雨，晚上听到鬼哭魂嚎。为什么下粟如雨呢？因为仓颉造成了文字，可用来传达心意、记载事情，自然值得庆贺。但鬼为什么要哭呢？有人说，因为有了文字，民智日开，民德日离，欺伪狡诈、争夺杀戮由此而生，天下从此永无太平日子，连鬼也不得安宁，所以鬼要哭了。

    告别“结绳记事”的年代。
   仓颉--汉字始祖中国古书上有“结绳记事”、“契木为文”等记载，这是早期记事常用的方法，可惜这些物质无法长久保存下来，所以当时的记事情况已无法知晓了。但安阳小屯发现了十五万片甲骨卜辞，在龟甲与牛胛骨上刻的文字相当完好地保存了下来，总字数达到3500个上下。从甲骨文字结构来说，除了象形以外，形声、会意、假借等比较进步的造字方法已普遍被应用。可见在三千余年前的商代文字已达到了相当完备程度，那么在它以前一定有个更长的发展过程。
   考古发现证明，中国先民早在七、八千年前就在龟甲上刻划符号了。在五、六千年前的仰韶文化、大汶口文化中发现了在陶器上刻划的符号有数十种之多，其中有些与甲骨上所见的字类似，因而有人认为它们就是早期文字。至于在龙山文化早期的陶罐上发现的朱书可以肯定是文字，充分表明中国的汉字至少已有四千余年的历史。文字的出现既是人们在长期的社会生活中不断积累、不断总结的结果，所以仓颉很可能是总结整理文字，为汉字的形成作出了贡献的一个代表人物。
   这位史前传说人物，在我国古代战国以前的典藉中都从未提及。最早提及仓颉者，是战国时期的荀卿。其后是《吕氏春秋》和《韩非子》，在荀子“故好书者众矣，而仓颉独传者，一也”的基础上，又有所引申，其主要观点是“仓颉作书”。汉代后，在《淮南子》和《论衡》中，已从“仓颉造字”发展为“仓颉四目”。尤其是汉代的纬书，又进而渲染，仓颉“生而能书，又受河图录书，于是穷天地之变，仰视奎星圜曲之势，俯察鱼文鸟羽，山川指掌，而创文字”(《春秋元命苞》)。

   仓颉造字功并日月。   

  《路史·禅通记》中说,仓颉“龙颜侈哆,四目灵光”。

   在《春秋元命苞》中说,仓颉“生而能书”。

   “仓颉造字”的传说在战国时期已经广泛流传。《淮南子·本经》中记载：“昔者仓颉作书，而天雨粟，鬼夜哭。”《说文解字序》中记载：“仓颉之初作书，盖依类象形，故谓之文；其后形声相益，即谓之字。”
   张彦远的《历代名画记·叙画之源流》中解释说：“颉有四目，仰观天象。因俪乌龟之迹，遂定书字之形。造化不能藏其秘，故天雨粟；灵怪不能遁其形，故鬼夜哭。是时也，书画同体而未分，象制肇创而犹略。无以传其意故有书，无以见其形故有画，天地圣人之意也。”
   关于仓颉造字，历史上还有这样一个近似于神话的传说，说仓颉是黄帝的史官，黄帝统一华夏之后，感到用结绳的方法记事，远远满足不了要求，就命他的史官仓颉想办法，造字。于是，仓颉就在当时的洧水河南岸的一个高台上造屋住下来，专心致志地造起字来。可是，他苦思冥想，想了很长时间也没造出字来。说来凑巧，有一天，仓颉正在思索之时，只见天上飞来一只凤凰，嘴里叼着的一件东西掉了下来，正好掉在仓颉面前，仓颉拾起来，看到上面有一个蹄印，可仓颉辨认不出是什么野兽的蹄印，就问正巧走来的一个猎人。猎人看了看说：“这是貔貅的蹄印，与别的兽类的蹄印不一样，别的野兽的蹄印，我一看也知道。”

   仓颉听了猎人的话很受启发。他想，万事万物都有自己的特征，如能抓住事物的特征，画出图象，大家都能认识，这不就是字吗?从此，仓颉便注意仔细观察各种事物的特征，譬如日、月、星、云、山、河、湖、海，以及各种飞禽走兽、应用器物，并按其特征，画出图形，造出许多象形字来。这样日积月累，时间长了，仓颉造的字也就多了。

   仓颉把他造的这些象形字献给黄帝，黄帝非常高兴，立即召集九州酋长，让仓颉把造的这些字传授给他们，于是，这些象形字便开始应用起来。为了纪念仓颉造字之功，后人把河南新郑县城南仓颉造字的地方称作“凤凰衔书台”，宋朝时还在这里建了一座庙，取名“凤台寺”。
　 仓颉据说长相奇特,《论衡·骨头相》中说“仓颉四目”，所以他有超乎常人的洞察力和心机。仓颉看见鸟兽蹄爪的印痕，便悟出世间文理的相别异，于是灵感涌动，创造了文字。这种文字叫“鸟迹书”。现存于白水县仓圣庙的鸟迹书碑上，刻有28个字母，实际上是一种象形性的文字符号。造字是一件太伟大、太奇妙、太崇高的神圣工作，在当时的人类社会引起巨大震动。《淮南子·本经训》中说：“昔者仓颉作书，而天雨粟（降粮食），鬼夜哭。”人们用这种想象的情景，表达自己对仓颉巨大功绩的称颂、感激与崇拜。

　《荀子·解蔽》中说：“故好书者众矣，而仓颉独传者，壹也。”仓颉创造整理出大批汉字，这是划时代的创举。它结束了原始人结绳记事的历史，将人类文明向前大大推进了一步。仓圣造字，反映了中华民族进化发展史上的一个大转折的时代特征，体现了中化民族的文明之光。华夏民族一直把仓圣造字引为自豪。

　　仓颉死后葬于今陕西省渭南市白水县史官镇外，人民为了纪念这位推进人类历史进步的对人，在墓前修庙建祠祭祀。据史载，仓颉庙从东汉延熹五年已具相当规模，以后各个朝代不断增修，绵延不绝，至今已有近二千年历史。庙内殿阁参差，苍松翠柏，荫天蔽日，殿柱上的石刻和石碑，殿堂里的壁画，都渗透着中华民族深邃的文化内涵，给人以古老悠远的幽思遐想。

　　白水仓颉庙楹联二副

　　画卦始开文字祖，结绳新创鸟虫书。

　　明四目而制六书，万世文字之祖；

　　连一心以赞两仪，千古世儒之师。

　 三、当代对汉字的研究。

   对于汉字起源，近代许多专家学者开始研究。感恩他们为中华民族文化传播做出的贡献。《大众日报》发表了关建先生整理的左民安《细说汉字:1000个汉字的起源与演变》书摘，现摘录了其中的内容，分享有缘者。
   任何一种文字都是代表有声语言的,这是世界上一切文字的共性。它们都是以语言为基础,依赖于语言的产生而产生,随着语言的发展而发展。我们现在所使用的方块汉字,就是以汉语为基础而产生的记录汉语的符号体系。
　　世界上的文字是多种多样的,但总的说来可以分为表意和标音两大文字体系,而汉字则属于表意文字。所谓表意文字,就是文字与语言的语音方面不发生直接联系,每一个字只是表示一个音节,不能明确表示读音,但一个字的本身就能表示一个意思。

   如“旦”字的上部是“日”,下部是地面(或水面),从地面上升起太阳,是表示早晨的意思。也正因为如此,同一个文字符号可以代表两种语言里的同一个词,而读音完全不同,比如方块汉字的“日”字,是画一个圆圈、中间加上一个圆点,很像一个太阳,而古埃及也是用这个文字符号表示太阳,只是读音不同。也正因为表意文字具有和语音不发生直接联系的特点,所以它就有可能用来代表不同民族的语言,如我们的邻邦日本、朝鲜等国家都曾经借用汉字作为他们的书面交际工具。
   （一）象形
　　一提起汉字结构,总离不开“六书”之说。所谓六书,就是前人分析汉字结构所归纳出来的六种条例。多采用东汉的许慎在《说文解字·叙》里说:“一曰指事,二曰象形,三曰形声,四曰会意,五曰转注,六曰假借。”
　　象形,顾名思义,象形就是像实物之形,也就是把客观事物的形体描绘出来的意思。如“日”、“月”就很像一轮红日和一弯新月高悬太空。

   再看“山”的甲骨文字形,当中一峰突起,周围群岚环抱,颇有一点“远近高低各不同”的意味。

   “州”字也很有意思:甲骨文和金文都是三条曲线,表示波涛汹涌的流水,其中间的小圆圈或小黑点,表示水中的一块陆地。《诗经》的开卷第一首就是“关关雎鸠,在河之州,窈窕淑女,君子好逑”。这个“州”,就是“雎鸠”在河中栖息繁衍之地。

   再比如,我们常说,说话提意见都要“有的放矢”,那么这个“矢”为什么当“箭”讲呢?请看甲骨文“矢”字的上部为锋利的箭镞,中为箭杆,下为搭弦的尾翎,可见“矢”就是“箭”的象形字。
   （二）指事
　　我们知道,牛马之类都可以用象形体表现出来。可是“甜”的意思又怎样象形呢?于是我们的祖先创造了一个“甘”字,在甲骨文里就写成口中加一点,表示在舌头上感到甜味的地方,甜字就是从这里演化而来的。
　　再比如,在上古要表示树的根,就在“木”(树)的下部加一个“点儿”,这个“点儿”就表明根部所在处,成为“本”字。要表示树的梢部,就在“木”的上部加一个“点儿”,这个“点儿”就表示树梢所在处,成为“末”字。可见“本”与“末”的含意正好相反,成语“本末倒置”也正由此而来。
   （三）会意
　　比如“步”字,在甲骨文中是脚趾朝上的两只脚一前一后走路的形象。假若两脚要从水中通过则怎样表现呢?那就再把“水”加在两脚之间,这就是徒步过水的“涉”字。

   如果两脚要登高呢?则又把“涉”字的水旁换成“阜”(左,即土坡),就成为两脚登山的样子,这又组成了新的会意字“陟”(zhì志)。由此可见,步、涉、陟等都是与脚(止)有关的会意字。
　　会意字的类型主要有五种:
　　1．同体会意。是由两个或两个以上同样的象形字所组成的会意字。比如“众”字,“三人为众”,表示人多的意思。

   “森”字,“木多貌”。

   “惢”(音琐)字,“心疑也”,三心二意怎能不疑?“

   “淼”字,“水大也”,表示水多的意思。
　　2．异体会意。是由两个或两个以上不同的象形字所组成的会意字,这种会意字在整个会意字中占绝对的多数。

   比如“莫”字,就是“暮”字的本字,表示太阳落进草丛之中,天快黑了。

   再比如“休”字,甲骨文的结构左边是“人”,右边是“木”(树),就是会“人依树而息”之意。
　　3．改变形体会意。这就是说,一个字可以通过它本身的增加笔画、减少笔画或改变形体来表示新的意思。

   如广东人就造了一个方言字“冇”(mǎo冒),把“有”字里面的两笔挖掉了,表示“没有”的意思。
　　4．组合解释会意。也就是用两个或两个以上的非象形字,以象形方式组合来会意的方法。

   比如不“上”不“下”为“卡”,上“小”下“大”为“尖”；

   四、方、木为“楞”,山、高为“嵩”等。
　　5．反文倒文会意。是把一个字或反写或倒写而产生新的意义。

   比如反“从”为“比”,反“后”为“司”。

   再如,甲骨文中画一个人站着即为“大”,而倒过来即为“屰”,也就是“逆”字的本字,是“不顺”的意思。
   （四）形声
　　比如,“鱼”是整个鱼类的总称,但是鱼的种类却是成千上万,显然不能为每一种鱼造一个字。再说各种鱼的样子又很相似,文字毕竟不是图画,难以从字形上一一加以区别的。于是,就出现了“形声”法。用“鱼”字边表示鱼的总类,再借用原有的字作为读音来表示鱼的种类,如“鲤”、“鲫”、“鳝”、“鳗”等。有“形”有“声”,这就产生了大量的形声字。
   （五）转注
　　比如在《说文解字》里,“老”与“考”就是一对转注字,它们都属“老部”。再比如,“绩”与“缉”属于同一部首“”,读音相近,意义也相通,可以互相解释,所以这也是一对转注字。
   （六）假借
　　就是说,当某个新事物出现之后,在口语里已经有了这个词,但在笔下却没有代表它的字,需要借用和它的名称声音相同的字来代表(托事),这就是假借。

   比如“令”字的本义是“命令”、“号令”等,但因其读音与“县令”之“令”相同,所以这就可以假借“命令”之“令”为“县令”之“令”。

   而“长”字的本义是“年长”,但因其读音与“县长”之“长”相同,所以这就可以假借“年长”之“长”为“县长”之“长”。
　　再如“自”字在甲骨文里像个鼻子,所以《说文解字》说:“鼻也,象鼻形。”这话是对的。“自”字本义就是鼻子,后来被假借为“自己”的“自”,于是另造了一个从“自”声“畀”的形声字“鼻”。而“自”字以后再不当“鼻子”讲了,也就只用其假借义了。
　　六书是后世人对文字进行分析而归纳出来的六种条例,并不是先有六书,然后再根据六书来造字的。

    本文参考资料：
   1、仓颉文化网络资料

   2、陈伟先生在《人民日报》文章《谈中国文化对西方的影响》

   3、左民安《细说汉字:1000个汉字的起源与演变》

   4、诸葛长青中华传统文化研究

(This article is an original article by Zhuge Changqing, and the pictures are selected from the Internet. Welcome to forward it, and please indicate the source for forwarding)

Introduction to Zhuge Changqing: Zhuge Changqing, the inheritor and promoter of traditional Chinese culture, is willing to "learn from sages, promote virtue, revitalize China and benefit the world" together with people with the same ideals in the world.

(Zhuge Changqing: zhuge8031@163.com ）

Zhuge Changqing mailbox：

zhuge8031@163.com

Zhuge Changqing's Chinese Dream

Learn from sages and carry forward virtue

Revitalizing China for the benefit of the world

 （本文是诸葛长青原创文章，图片选自网络。欢迎转发，转发引用请注明出处）

诸葛长青简介：诸葛长青，中国国学传统文化传承弘扬者，愿与天下志同道合者一起“学习圣贤、弘扬善德、振兴中华、造福世界”。

（诸葛长青：zhuge8031@163.com）

Zhuge Changqing mailbox：

zhuge8031@163.com

  诸葛长青中国梦  

学习圣贤 弘扬善德

振兴中华 造福世界

Selected Articles in Previous Periods

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往期精选文章

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1The wisdom of traditional Chinese culture changes the destiny: filial piety to parents+five in one+self-improvement

1 国学智慧改命运：孝敬父母+五合一+自强不息

2Zhuge Changqing's Three Golden Keys to Changing Destiny

2诸葛长青改命运三把金钥匙诸葛长青施食仪轨 （十五步简洁版）

3Zhuge Changqing's Greeting Ritual (15 Steps Concise Version)

3 诸葛长青施食仪轨 （十五步简洁版）

4How to repent: the ritual of repentance and the method of repentance (full version)

4   如何忏悔：忏悔仪轨忏悔方法（完整版）

5How to read the Dizang Sutra: Methods for reciting Dizang Sutra (complete version)

5 如何念地藏经：念地藏经仪轨方法（完整版）

6How to release? The ritual of releasing life

6怎样放生？放生仪轨

7Zhuge Changqing's Repentance Culture: A Case Study of Repentance Methods for Changing Destiny

7诸葛长青忏悔文化：改变命运忏悔方法案例

8Free Life Culture: Free Life Culture in Ancient China

8放生文化：中国古代的放生文化

9Shocking photo of feeding: Buddha, Bodhisattva and Dharma Protector come to the scene

9施食震撼照片：佛菩萨护法神亲临现场

10Feeding Rite Return: the return is changed to simple return

10施食仪轨回向：回向修改为简洁回向