Guo Xianglin's "Six Books And Seeing" Study

Kuang Xianglin is one of the important scholars who study the "Liushu" in late Qing dynasty,and his work"Liushuguanjian(??????)",finished in late Qing dynasty,the important works which study "Liushu" in late Qing dynasty.This paper attempts to study "Liushu" in Kuang's viewpoint and philology practice and offers the basic material for the research of the gradual progress of "Liushu" from Qing dynasty to the contemporary era,and makes up for the loss of the research for "Liushu" in late Qing dynasty.The research on"Liuhuguanjian(??????)"is divided into eight parts in this paper.The introduction mainly discusses the academic background of Kuang XiangLin's"Liushuguanjian(??????)",including four aspects.The first aspect is the history of research on "Liushu",which sketched the history of the study on"Liushu" from the first definition in Xu Shen's"Shuowen((????)",to the study in Song dynasty symbolized by Zheng Qiao's Liushulue".The second is the reason for the popularity of "Shuowen(????)"in Qing dynasty.It is believed that the thought of"serving for reality" in Qing dynasty has laid the foundation for the revive of "Xiaoxue"in Qing dynasty.The basic research on traditional "Xiaoxue" pushes the research on "Shuowen(????)" in Qing dynasty and its flourishment.The period from Song to Ming dynastise's achievement on the study of "Liushu" consolidate the basis for the deep research of "Shuowen(????)"in Qing dynasty.In such an academic background,it naturally affects the formation of "Liushuguanjian(??????)".The third part is the significance of the topic.By now,no specialized works and publication of thesis on the research of Kuang Xiang lin's"Liushuguanjian(??????)"have come out,yet.This paper is written to remedy the simple verdict on "Liushuguanjian(??????)",such as "compilation of data" and "miscellaneous wording",to assess "Liushuguanjian(??????)"objectively,and to offer the basic material for the research of the gradual progress of "Liushu" from Qing dynasty to the contemporary era.The fourth part is the basic methodology of this paper,such as diachronic comparison analysis,inductive analysis and quantitative analysis blended.The first chapter is about KuangXianglin and"Liushguanjian(??????)",whichIncludes presenting its auther and writing,introducing its style and version,summarizing its words and fonts.The second chapter is researching on related issues of "Shuowen(????)"in"Liushuguanjian(??????)",Including KuangXianglin studying the style of"Shuowen(????)",questioning "shuowenjiezixizhau(????????)" and its function words as well as other words.The third chapter is KuangXianglin's concept of characters.Firstly,this paper discusses KuangXianglin's conception of explaining a word according its sound.He inductives sound training materials from direct and indirect two aspects and divides sound training into four kinds,that is the same word for the training,training of interpretation and annotations of words between sounds same or near?assonance for training and sound different poems rhyme sound similar training.Secondly,this part discusses KuangXianglin's theory of font diversity.Positioning Kuang's theory as the discussion of the relationship between two same Chinese character components changing position and word meaning.Thus further I discusse two problems:one is based on the examples folk characters listed by Kuang,I explore the causes of the folk characters;Other one is discussing the issue about the character component changing positions brings variant words come into being.Thirdly,this paper discusses KuangXianglin's view of folk characters.According to the folk characters induced by Kuang,we believe that:first,compared to the popular form,folk characters was established by a phenomenon of words;Second,the folk characters is an expression of the Chinese characters form the remorse,it reflects when using the font as the words,or the arrangement was recorded when the written language of landmark product of that era.Finally,this paper discusses KuangXianglin's theory of the order of "Liushu"following BanGu.The fourth chapter is discussing the idea of ideograms in"Liushuanjian(?????)".This chapter includes Huixing,Xiangxing,Zhishi,Xiangshi,Huiyi.Working form parts,influenced by ZhengQiao's view of "calligraphy and painting homology",the effects of plans to push derivatives at the beginning of the word origin,painted all can draw the shape of the "Liushu".Pictographic part,mainly by conformal,side form,fit,and books etc,analysis the pictograms are white,and with the Chinese characters are pictographs further added.Kuang believes that if the Chinese characters containe the symbols,and when it plays a role of instruction or the difference between these symbols to point to the mean,the Chinese characters that belongs to Zhishi.Moreover,notes as the facts of "understanding through its appearance" ideographic character,Kuang's concept of "understanding" is based on its meaning knowing words.The fifth chapter is discussing the theory of Xiesheng in "Liushuguanjian(??????)”.First,KuangXianglin bases on the annotation of ancient seventeen symphony of identified three hundred and twenty-five symphony phoneticelement,nfluenced by characteristics begets son mother said,and according to the symphony phonetic element type symphony,symphony received word includes Yishengzi and Xingshengzi.Secondly,Kuang induces the symphony of phonetic element level from the perspective of diachronic,and based on the same map symphony of words between the hierarchy,hierarchy figure and reproduce.Our study is on the basis of numbered musical notation of Xiesheng,analysing with Xieshengzi symphony under the phonetic element of word,the symphony of Chinese character component screened at the table and table base and pure phonetic element of sound,the so-called phonetic element table righteousness,is actually a sibilant table righteousness,which is not a simple phonetic element table.Further discussion is separated by the same root reproduce the word form significance connecting with difference between each other.The sixth chapter is discussing the theory of Zhuanzhu?Jiajie in "Liushuguanjian(??????)".About "transfer",KuangXianglin thinks that is changing the direction of the glyph;And the so-called transfer namely increasing or decreasing a certain part of the same components.First of all,we think Kuang's point of changing font for the conversion in the direction is wrong;Second,Kuang namely Zhuanzhu as the increase of the same parts,so-called most practical for parts are Huiyizi.KuangXianglin just listed Zhou Boqi?ZhengQiao's idea in the article.Through combing of the doctrine of the Qing dynasty under the guise of context,roughly along the DaiDong's thought,we further expounded our own recognition of Jiajiezi.The seventh chapter is discussing the achievements and deficiencies of "Liushuguanjian(??????)".The last part is the conclusion of the article.Firstly,the reseach of "Liushu" in Qing dynasty is based on its developing in Song dynasty.Systemly combing the idea of "Liushu" in "Liushuguanjia(??????)",tracing the root,we can see that "Liushu" mainly influenced by Xu Kai,Zheng Qiao and Zhou Boqi.Secendly,through systemly studying "Liushuguanjian(??????)",we can see that,one is to fill a vacancy on "Liushuguanjian(??????)",second is to correct the view of "compilation of date","lengthy and jumbled" about "Liushuguanjian(??????)”.Thirdly,take advantage of numbered musical notation of Xiesheng in"Liushuguanjian(??????)" to study homologous characters,from the perspective of diachronic dynamic to grasp the development and change of Chinese characters,identify symphony in the phonetic element and sound and just in one of the root,argue with common placing signage at the symphony with root words internal inherent hierarchy,systematic,and reveal the cognate words in form,sound and meaning between the three aspects of correlation relationship and development.Fourthly,objectively research the "Liushuguanjian(??????)",and then systemly provide the first-hand information for combing the theory of "Liushu" from Qing dynasty to the contemporary evolution.