1210 图腾与音律：人类献给世界的最美礼赞
Totem and Tonality: Humanity's Most Beautiful Tribute to the World
图腾与音律：人类献给世界的最美礼赞
Totem and Tonality: Humanity's Most Beautiful Tribute to the World
姜洪庆
Jiang Hongqing
引言
Introduction
人类与世界之间最根本的联系，不是工具、不是思想、甚至不是语言，而是感知。而所有感知中，最原初、最直接的两种，便是看见与听见。看见，产生了图像；听见，产生了声音。图像与声音，是人类与世界建立联系的第一座桥梁。它们先于文字、先于逻辑、先于哲学。它们是献给这个世界最美的两种形式，也是至今为止，人类彼此之间学习、交流、互鉴最核心的介质。
The most fundamental connection between humanity and the world is not tools, not thought, and not even language, but perception. Among all forms of perception, the two most primordial and most direct are seeing and hearing. Seeing gives rise to images; hearing gives rise to sounds. Image and sound constitute the first bridge through which humanity establishes contact with the world. They precede writing, precede logic, precede philosophy. They are the two most beautiful forms dedicated to this world, and to this day they remain the core media through which human beings learn from, communicate with, and draw mutual inspiration from one another.
今天，我们用视频通话、用语音消息、用图像和音乐传递情感与知识。本质上，我们仍然在使用图腾与音律的古老遗产。而这一切的源头，要追溯到人类文明破晓之前，那个巫鬼与神话的时代。图腾与音律，正是从巫鬼与神话的混沌感知中提炼、总结出来的两套符码系统，它们将不可重复的仪式经验，转化为可传承、可传播的“语法”。而这两套语法，又启发了后世哲学与神学、科学与玄学的层层展开，最终指向人类文明更深远的未来。
Today, we use video calls, voice messages, images, and music to transmit emotion and knowledge. In essence, we are still employing the ancient legacy of totem and tonality. And the origins of all this must be traced back to that era of shamanism and myth, before the dawn of human civilization. Totem and tonality are precisely two systems of codes distilled and summarized from the chaotic perception of shamanism and myth. They transformed unrepeatable ritual experiences into a transmissible and disseminable "grammar." These two grammars, in turn, inspired the successive unfolding of later philosophy and theology, science and metaphysics, ultimately pointing toward a more profound future for human civilization.
01 图腾与音律源自于巫鬼与神话
01 Totem and Tonality Originate in Shamanism and Myth
在文字诞生之前，在逻辑体系建立之前，人类与世界对话的方式只有两种：看得见的图像与听得见的声音。距今八千至四千年前的新石器时代中晚期，人类早期巫鬼文化历经数千年演化，先民尚未将自己与自然截然分开。他们相信万物有灵，日月星辰、山川草木、风雨雷电皆可感知、可回应。他们与世界的交流方式，是仪式、献祭、舞蹈、呼喊。没有中介，没有符码，是身体与自然的直接对话。
Before the birth of writing, before the establishment of logical systems, humanity conversed with the world in only two ways: visible images and audible sounds. In the middle and late Neolithic period, roughly eight thousand to four thousand years ago, early human shamanic culture underwent millennia of evolution. Our ancestors had not yet drawn a sharp distinction between themselves and nature. They believed that all things possessed spirit—that the sun, moon, and stars, the mountains, rivers, grasses, and trees, the wind, rain, and thunder could all perceive and respond. Their mode of communication with the world was ritual, sacrifice, dance, and invocation. There was no intermediary, no code—it was a direct dialogue between body and nature.
德国哲学家恩斯特·卡西尔在其《符号形式哲学》中深刻指出，人是“符号的动物”，人与动物的根本区别在于“人不再生活在一个单纯的物理宇宙中，而生活在一个符号宇宙中”。神话与巫鬼，正是人类最早期的符号形式之一。卡西尔认为，神话作为人类最初的心智想象，是人类把握世界和解释世界的方式，这种“心灵图像”与“符号形式”是与人类心灵某种先验机制相关联的，最初级的阶段就表现为神话思维。他把神话奉为各种文化形式的母体。也就是说，巫鬼与神话不是“蒙昧”的表现，而是人类建立符号宇宙的第一个尝试，尽管这个尝试还混沌未分，还停留在身体与自然的直接对话中，但它已经孕育了此后一切符号形式的胚胎。
The German philosopher Ernst Cassirer pointed out profoundly in his Philosophy of Symbolic Forms that man is an "animal symbolicum," and that the fundamental difference between humans and animals lies in the fact that "man no longer lives in a merely physical universe, but in a symbolic universe." Myth and shamanism are precisely among humanity's earliest symbolic forms. Cassirer held that myth, as humanity's earliest mental imagination, is the means by which humans grasp and interpret the world. This "mental image" and "symbolic form" are linked to some a priori mechanism of the human mind, manifesting at its most elementary stage as mythical thought. He regarded myth as the matrix of all cultural forms. In other words, shamanism and myth are not manifestations of "primitiveness," but humanity's first attempt to construct a symbolic universe. Although this attempt remained undifferentiated and chaotic, still confined to a direct dialogue between body and nature, it had already gestated the embryo of all subsequent symbolic forms.
但这种方式有一个根本缺陷：不可重复、不可传播、不可积累。每一个巫师的通灵体验都是独特的，每一次祭祀的效果都无法验证。一个巫师在狂舞中感受到的“神意”，无法被另一个巫师复制；一场祈雨仪式是否真的感动了天地，无人能够确认。如果人类只能依赖这种一次性的、不可复现的体验，那么知识就无法积累，经验就无法传递，文明就永远只能停留在“这一次”的混沌之中。于是，人类需要将这种混沌的感知，转化为可重复、可传播的符码系统。图腾与音律，便在此刻诞生，成为人类与未知世界对话的第一套“语法”。它们是对巫鬼与神话的提炼和总结，将纷乱的灵性经验，凝练为可辨识的图像与可复现的声音。
Yet this mode had a fundamental defect: it was unrepeatable, non-transmissible, and non-cumulative. Every shaman's experience of spirit communication was unique; the efficacy of every sacrifice could not be verified. The "divine will" that one shaman felt in a frenzied dance could not be replicated by another; whether a rain-praying ritual truly moved heaven and earth, no one could confirm. If humanity could rely only on such one-time, non-reproducible experiences, then knowledge could not accumulate, experience could not be transmitted, and civilization could forever remain trapped in the chaos of "this one time." Thus, humanity needed to transform this chaotic perception into repeatable, transmissible systems of codes. Totem and tonality were born at this moment, becoming humanity's first "grammar" for dialogue with the unknown world. They are the distillation and summation of shamanism and myth, condensing diffuse spiritual experience into recognizable images and reproducible sounds.
河南舞阳贾湖遗址提供了一个直接的实证。距今八千多年前，同一遗址既出土了能吹奏完整音阶的骨笛，也出土了刻在龟甲、陶器上的符号。音律与图像在同一时空出现，说明这两套符码从一开始就是同源双生的。
The Jiahu site in Wuyang, Henan, provides a direct piece of evidence. More than eight thousand years ago, the same site yielded bone flutes capable of playing a complete scale, as well as symbols carved on tortoise shells and pottery. Sound and image appeared in the same time and place, showing that these two codes were twin-born from the very beginning.
法国结构主义人类学家列维-斯特劳斯在《图腾制度》中进一步揭示了这一转化的逻辑。他认为，图腾制度不是随意的象征，而是一般分类问题的特例：动物物种为人类提供了一套区分系统，动物的区分系列成为社会区分系列的图示。他率先将索绪尔的结构主义方法从语言学横移到人类学，把具体的神话和仪式看作“言语”，并探求支配其形成的稳定的“语言”。这意味着，图腾与音律的出现，正是人类从零散的“言语”走向系统的“语言”的关键一步。
The French structuralist anthropologist Claude Lévi-Strauss further revealed the logic of this transformation in his Totemism. He argued that totemism is not an arbitrary symbolism, but a special case of the general problem of classification: animal species provided humanity with a system of distinctions, and the series of animal distinctions became the diagram of social distinctions. He was the first to transfer Saussure's structuralist method from linguistics to anthropology, treating concrete myths and rituals as "parole," and seeking the stable "langue" governing their formation. This means that the emergence of totem and tonality was precisely the crucial step by which humanity moved from scattered "parole" toward systematic "langue."
这一转化意味着人类第一次尝试将内在的、主观的、瞬间的体验，转化为外在的、客观的、持久的符码。这个过程本身就是一场认知革命，它让经验不再依赖于特定的人、特定的时刻、特定的地点。一个刻在陶器上的图腾符码，可以被任何时代的任何人“读取”；一段被记录下来的音律，可以被任何时空的任何人“演奏”。图腾与音律的出现，标志着人类从“体验”走向了“表达”，从“感受”走向了“交流”，从“此刻”走向了“永恒”。
This transformation signified humanity's first attempt to convert internal, subjective, momentary experience into external, objective, enduring codes. This process itself was a cognitive revolution, freeing experience from dependence on a specific person, a specific moment, a specific place. A totemic code carved on pottery can be "read" by anyone in any era; a recorded tonality can be "performed" by anyone in any time and space. The emergence of totem and tonality marks humanity's transition from "experience" to "expression," from "sensation" to "communication," from "the present moment" to "eternity."
02 图腾广化：图像如何成为思想的载体
02 The Generalization of Totem: How Images Became the Vehicle of Thought
图腾的本质，是将“看见”的世界固定下来。一个图腾符码，无论是动物形象、几何纹饰，还是后来的方块汉字，都是一个可独立存在的意义单元。它可以刻在陶器上、玉器上、甲骨上，几千年后仍然可以被识别、被解读。它不依赖于声音、不依赖于时空、不依赖于特定的表演者，它是凝固的图像。
The essence of the totem is to fix the seen world in place. A totemic code—whether an animal figure, a geometric motif, or later the square-character Chinese script—is a meaning unit capable of independent existence. It can be carved on pottery, on jade, on oracle bone, and still be recognized and interpreted thousands of years later. It does not depend on sound, on time and space, or on a specific performer. It is a congealed image.
从符码学来看，美国哲学家皮尔士将符码分为像似符、指示符与象征符三类。图腾符码恰恰同时具备这三重属性：它以动物或自然物的形象呈现，具有像似性；它指向某种自然力量或社会关系，具有指示性；它在代代相传中获得约定俗成的意义，具有象征性。正是这种叠加，使图腾符码具有了超越具体时空的普遍有效性。
From the perspective of semiotics, the American philosopher Charles Sanders Peirce divided signs into three categories: the icon, the index, and the symbol. The totemic code happens to possess all three attributes simultaneously: it presents itself in the form of an animal or natural object, and thus is iconic; it points toward some natural force or social relation, and thus is indexical; and it acquires conventionalized meaning through transmission from generation to generation, and thus is symbolic. It is precisely this superimposition that endows the totemic code with a universal validity transcending concrete time and space.
更早的图像符码留在岩壁上。贺兰山岩画、阴山岩画、花山岩画，以及藏北的大量岩画，用凿刻与涂绘的方式记录了狩猎、祭祀、舞蹈与动物形象。贺兰山的太阳神岩画尤其值得注意，人面居中，光芒四射，头顶有星辰排列。它与后来苏美尔“星辰三联神”、三星堆纵目面具存在母题上的相似性。这种相似性虽无可直接证实的传承链条，但从分布看，可以推断人类对星辰与神性的图像编码早在岩画阶段就已成形。这些图像不依赖声音、不依赖文字，今天看来仍然可以直接感知其力量。它们是图腾广化最早的底层样本，说明图像符码的可识读性可以跨越数千年。从岩画到陶器纹样，图像符码开始从岩壁走进日常器物。
Even earlier image codes survive on rock faces. The rock art of Helan Mountain, Yinshan, Huashan, and the many petroglyphs of northern Tibet record hunting, sacrifice, dance, and animal figures through carving and painting. The sun-god petroglyph at Helan Mountain deserves particular attention: a human face at the center, radiance radiating outward, with stars arranged above the head. It shares a thematic similarity with the later Sumerian "Triadic Star Deities" and the Sanxingdui vertical-eyed masks. Although no directly verifiable chain of transmission exists for this similarity, its distribution allows us to infer that the image-coding of stars and divinity had already taken shape in the rock-art stage. These images depend on neither sound nor writing, and even today their power can be directly felt. They are the earliest substratum of totemic generalization, showing that the legibility of image codes can span thousands of years. From rock art to pottery motifs, image codes began to move from the cliff face into everyday vessels.
图腾广化的过程，就是将这些原本附着于巫鬼仪式的符码，逐步抽象为普遍可用的“表意”系统。距今约七千年前，八角星纹、獠牙兽面纹图案在中国大部地区流行开来。这些纹样不只是装饰，它们是史前跨部族上层通用的符码。一个八角星，代表八方九宫、天圆地方；一个兽面纹，代表某种自然力量。它们是人与世界交流的标准化词汇。这些纹样跨越了方言的壁垒，跨越了部落的边界，让不同地域、不同语言的人们可以通过共同的“看”来理解彼此。而这一广化过程的巅峰，便是汉字。每一个汉字，本质上都是一个浓缩的图像。“十”“口”“井”“田”这些最基础的汉字，直接来源于古人对宇宙秩序的观察与抽象。它们不只是记录语言的工具，更是思想的图像。
The process of totemic generalization is the process by which codes originally attached to shamanic rituals were gradually abstracted into a universally usable system of "signification." Approximately seven thousand years ago, the eight-pointed star motif and the fanged beast-face motif became widespread across most of China. These patterns were not merely decoration; they were codes common to a cross-tribal upper stratum in prehistoric times. An eight-pointed star represented the eight directions and nine palaces, the round heaven and square earth; a beast-face motif represented a certain natural force. They were standardized vocabulary for communication between humanity and the world. These motifs crossed the barriers of dialect, crossed the boundaries of tribe, enabling people of different regions and different languages to understand one another through a shared act of "seeing." The zenith of this process of generalization is the Chinese character. Every Chinese character is, in essence, a condensed image. The most basic characters—"十" (ten), "口" (mouth), "井" (well), "田" (field)—derive directly from the ancients' observation and abstraction of cosmic order. They are not merely tools for recording language; they are images of thought.
索绪尔在《普通语言学教程》中建立了现代语言学的基石。他指出，语言是一个由差异构成的系统，符号的意义不来自符码本身，而来自符码之间的结构关系。十七世纪的欧洲学者曾将汉字视为“伊甸园里的初民语言”，因为汉字不经过声音的转译，直接指向事物的本质。你看到“猫”这个字，即便不知道它的发音，也能通过“犭”和“苗”的偏旁联想到它与动物和谷物有关；你看到“船”字，能看出“舟”和“八口”的组合。汉字把这种共享从纹样推进到每一个字，让中华文明在数千年间保持了惊人的连续性。
Saussure established the cornerstone of modern linguistics in his Course in General Linguistics. He pointed out that language is a system constituted by differences, and that the meaning of a sign derives not from the code itself, but from the structural relations among codes. Seventeenth-century European scholars once regarded Chinese characters as "the primordial language of Eden," because Chinese characters, without passing through the transposition of sound, point directly to the essence of things. When you see the character "猫" (cat), even without knowing its pronunciation, you can associate it with animals and grain through the radicals "犭" and "苗"; when you see the character "船" (boat), you can perceive the combination of "舟" and "八口." Chinese characters extended this sharing from motifs to every single character, enabling Chinese civilization to maintain an astonishing continuity over thousands of years.
图腾的空间表达，是“方”。方城、方院、方物，四合院是住宅的基本原型，九宫格是城市的营造逻辑。中国人尚“方”，因为“方”代表着可连接、可扩展、可传承的秩序。图像思维让中国人擅长整体性、关联性、矩阵式的认知方式。它不追求单一元素的精确切割，而是追求元素与元素之间的整体关联，这与西方线性逻辑形成了鲜明对比。
The spatial expression of the totem is the "square." Square cities, square courtyards, square objects—the siheyuan (courtyard house) is the basic prototype of dwelling, and the nine-palace grid is the construction logic of the city. The Chinese esteem the "square," because the "square" represents an order that is connectable, expandable, and transmissible. Image thinking has made the Chinese adept at holistic, relational, and matrix-like modes of cognition. It does not pursue the precise dissection of a single element, but rather the holistic interconnection among elements—a sharp contrast to Western linear logic.
03 音律广化：声音如何成为逻辑的工具
03 The Generalization of Tonality: How Sound Became the Instrument of Logic
音律的本质，是将“听见”的世界流动起来。一个音，无论是编钟的音调、骨笛的泛音，还是歌声的旋律，都不是独立的“字”，而是流动的、连续的波。它没有明确的边界，不能被切割成独立的单元。它像一条河流，你无法截取一滴水来代表整条河。从能吹完整音阶的早期骨笛，到曾侯乙编钟的“一钟双音、旋宫转调”，音律走过了从单声到复声、从自然音阶到旋宫转调的成熟过程。曾侯乙编钟一套六十五件，每件都能敲出两个不同的音，音阶完整。但每一个音本身没有独立的意义，意义在于音与音之间的流动、旋律的起伏、节奏的强弱。
The essence of tonality is to set the heard world into motion. A single tone—whether the pitch of a bronze bell, the overtone of a bone flute, or the melody of a song—is not an independent "character," but a flowing, continuous wave. It has no clear boundary and cannot be cut into discrete units. It is like a river: you cannot take a single drop of water to represent the entire river. From the early bone flutes capable of playing a complete scale to the "one bell, two tones; modulating through the modes" of the Zenghouyi bells, tonality passed through a maturation from single tone to multiple tones, from natural scales to modal modulation. The Zenghouyi bells comprise a set of sixty-five pieces, each able to strike two different tones, with a complete scale. Yet each tone in itself has no independent meaning; meaning lies in the flow between tones, the rise and fall of melody, the intensity of rhythm.
索绪尔对语言符号特性的揭示，同样可以照亮我们对音律的理解。他指出语言符号具有“线性特征”，能指在时间中展开，具有不可逆的先后顺序。音律正是这种线性特征最纯粹的表现形式，旋律只能在时间中展开，音与音之间的前后关系构成了意义的全部。索绪尔还区分了句段关系与联想关系，这对应着音律中的横向组合与纵向替换：一首乐曲既需要音符在时间中的横向排列，也需要在不同调式、不同节奏型之间的纵向选择。
Saussure's revelation of the properties of the linguistic sign can likewise illuminate our understanding of tonality. He pointed out that the linguistic sign possesses a "linear character": the signifier unfolds in time, with an irreversible sequential order. Tonality is the purest manifestation of this linear character; melody can unfold only in time, and the sequential relations between tones constitute the whole of meaning. Saussure also distinguished syntagmatic relations from associative relations, which correspond to the horizontal combination and vertical substitution in tonality: a musical piece requires both the horizontal arrangement of notes in time and the vertical selection among different modes and different rhythmic patterns.
然而，声音稍纵即逝、难以捕捉。音律的广化面临着一个根本性的困境：声音会消失、会变化、会失效。几百年前的发音和今天完全不同；几千年前的词汇，很多已经无法解读。正是这种困境，催生了西方学术史上最精密的知识体系之一，语言学。音律广化的过程，就是将流动的声音逐渐抽象为可记录、可分析的系统。但音律广化并不只是被动应对困境，它同时保留了声音最原初的力量。音律的最大优势在于感染力。它不经过理性，直接作用于情感与身体。当编钟的泛音在宗庙中回荡，当鼓声在祭祀场上震动，人们不需要“理解”就能“感受”到那个更宏大的世界。这种感染力是图像无法替代的。图像需要“看”，需要一定的距离和静观；而声音是“进入”的，它充满空间、穿透身体，让人无处可逃。这正是音律在仪式、宗教、庆典中始终占据核心地位的原因。
Yet sound is fleeting and difficult to capture. The generalization of tonality faces a fundamental predicament: sound disappears, changes, and loses efficacy. The pronunciation of several hundred years ago is entirely different from that of today; many words from several thousand years ago can no longer be deciphered. It is precisely this predicament that gave rise to one of the most refined knowledge systems in Western academic history: linguistics. The process of tonal generalization is the process by which flowing sound is gradually abstracted into a recordable and analyzable system. But tonal generalization is not merely a passive response to predicament; it simultaneously preserves the most primordial power of sound. The greatest advantage of tonality lies in its affective power. It does not pass through reason, but acts directly upon emotion and the body. When the overtones of bronze bells reverberate in the ancestral temple, when the sound of drums shakes the sacrificial ground, people need not "understand" in order to "feel" that more expansive world. This affective power is something the image cannot replace. The image requires "seeing," requiring a certain distance and quiet contemplation; sound, by contrast, "enters"—it fills space, penetrates the body, leaving one nowhere to escape. This is precisely why tonality has always occupied a central position in ritual, religion, and celebration.
音律广化的文化成果，是“表音”系统的建立。西方选择了字母文字。它不是“思想的图像”，而是“声音的记录”。你看到“cat”，你需要知道它的发音，才能联想到猫。这意味着，音律文明更强调个体的表达、即时的沟通、线性的逻辑。
The cultural achievement of tonal generalization is the establishment of a "phonetic" system. The West chose alphabetic writing. It is not an "image of thought," but a "record of sound." When you see "cat," you need to know its pronunciation in order to associate it with the animal. This means that tonal civilization places greater emphasis on individual expression, immediate communication, and linear logic.
音律的空间表达，是“圆”。同心圆、穹隆、放射状的城市结构，以圆为理想形态，强调中心与放射。声音从中心发出，向四周传播。这种结构塑造了西方文明更强调个体表达、即时传播、线性推演的文化特征。而音律广化最伟大的学术成果，便是语言学、语义学、语法学，它们让人类第一次能够系统地分析“表达”本身的结构。西方人用几千年的时间，将流动的声音拆解为可分析的单元，建立了从音素到词法到句法的完整体系。这套体系不仅是语言研究的工具，更塑造了西方人分析世界的方式：拆分、归类、逻辑推演。
The spatial expression of tonality is the "circle": concentric circles, domes, radially structured cities, with the circle as the ideal form, emphasizing center and radiation. Sound is emitted from the center and propagates outward in all directions. This structure shaped the cultural characteristics of Western civilization, with its greater emphasis on individual expression, immediate transmission, and linear deduction. And the greatest academic achievement of tonal generalization is linguistics, semantics, and grammar, which for the first time enabled humanity to systematically analyze the structure of "expression" itself. The West spent several thousand years disassembling flowing sound into analyzable units, establishing a complete system from phoneme to morphology to syntax. This system is not merely a tool for linguistic research; it has shaped the Western manner of analyzing the world: dissection, classification, and logical deduction.
04 两种广化的分野：图像与声音塑造了不同的文明
04 The Divergence of Two Generalizations: Image and Sound Shaped Different Civilizations
图腾广化与音律广化，图像与声音，构成了人类与世界交流的两套底层语法。它们的差异，深刻塑造了中西方文明的不同面貌。图像文明以中华文明为典型，追求“看”的凝固与可携带。表意文字让思想直接呈现，空间上以可连接、可扩展的“方”为特征，因而形成了跨越方言与地域的“大一统”文明结构。它的时间感知是永续的，认知方式是整体性、关联性、矩阵式的。声音文明以西方文明为典型，追求“听”的流动与即时性。表音文字让思想需经声音转译，空间上以向心放射的“圆”为特征，因而形成了分化与竞争并存的“泛城邦”文明结构。它的时间感知是流动的，认知方式是个体性、逻辑性、线性推演的。
The generalization of totem and the generalization of tonality, image and sound, constitute two underlying grammars of humanity's communication with the world. Their differences have profoundly shaped the distinct countenances of Chinese and Western civilizations. Image civilization, with Chinese civilization as its exemplar, pursues the congealing and portability of "seeing." Ideographic writing allows thought to present itself directly; spatially, it is characterized by the connectable, expandable "square," and thus formed a "great unity" civilizational structure transcending dialect and region. Its perception of time is enduring, and its mode of cognition is holistic, relational, and matrix-like. Sound civilization, with Western civilization as its exemplar, pursues the flow and immediacy of "hearing." Phonetic writing requires thought to pass through the transposition of sound; spatially, it is characterized by the centripetal, radiating "circle," and thus formed a "pan-polis" civilizational structure in which division and competition coexist. Its perception of time is fluid, and its mode of cognition is individual, logical, and linearly deductive.
罗兰·巴特在索绪尔的基础上进一步发展了符号学理论，将结构主义方法应用于对大众文化、时尚、广告等的分析。巴特揭示了符号如何在社会中被“自然化”，即把人为建构的意义伪装成“理所当然”的存在。这一洞见帮助我们理解，无论是图腾还是音律，它们的“意义”从来不是天然的，而是在特定的文化语境中被建构、被固化、被传承的。图像文明和声音文明各自选择了不同的“自然化”路径，前者将意义固化在可视的形态中，后者将意义编码在可闻的声音里。
Roland Barthes further developed semiotic theory on the basis of Saussure, applying the structuralist method to the analysis of mass culture, fashion, and advertising. Barthes revealed how signs are "naturalized" in society—that is, how artificially constructed meanings are disguised as something "taken for granted." This insight helps us understand that, whether totem or tonality, their "meaning" is never natural, but is constructed, solidified, and transmitted within a specific cultural context. Image civilization and sound civilization each chose a different path of "naturalization": the former solidified meaning in visible forms, the latter encoded meaning in audible sound.
这种分野落到历史进程上，表现为两种不同的文明节奏。图像文明把意义沉淀在稳定的形式里，它不需要不断重新解释过去，因为图像本身就携带了意义。一个汉代人看到“田”字，和一个唐代人看到“田”字，理解是相通的。这种意义的稳定性，使中华文明能够在数千年间保持认知框架的一致性。声音文明则把意义放在不断的重新表达中，因为每一次发音都是新的，每一次解读都可能有微小的偏移。这种流动性和不确定性，使西方文明更易于接受变化、更善于在旧体系之外建立新体系。这正是为什么西方历史上文明更迭频繁，而中华文明却能“旋回自洽”地延续至今的原因之一。
This divergence, translated into the historical process, manifests as two different civilizational rhythms. Image civilization sediments meaning in stable forms; it does not need to constantly reinterpret the past, because the image itself carries meaning. A person of the Han dynasty seeing the character "田" and a person of the Tang dynasty seeing the character "田" share a common understanding. This stability of meaning enabled Chinese civilization to maintain a consistency of cognitive framework over thousands of years. Sound civilization, by contrast, places meaning in constant re-expression, because every pronunciation is new, and every interpretation may involve a minute deviation. This fluidity and uncertainty made Western civilization more receptive to change and more adept at establishing new systems outside the old. This is one of the reasons why civilizations in Western history succeeded one another frequently, while Chinese civilization was able to continue to this day through "spiral return and self-consistency."
但二者并非对立，而是互补。它们是人类与世界交流的一体两面。“图腾成为凝固的音律，音律则是流动的图腾。任何图腾都蕴含着音律，而任何音律均可生成图腾。”真正完整的交流，既需要“看”的凝固与稳定，也需要“听”的流动与感染力。一个伟大的文明，必然是图像与声音兼具的文明。只不过，不同文明在不同历史阶段，选择了不同的侧重点。
Yet the two are not opposed, but complementary. They are two sides of one body in humanity's communication with the world. "The totem becomes congealed tonality; tonality is flowing totem. Every totem contains tonality, and every tonality can generate totem." Truly complete communication requires both the congealing and stability of "seeing" and the flow and affective power of "hearing." A great civilization is necessarily one that possesses both image and sound. It is merely that different civilizations, at different historical stages, chose different emphases.
这种分野，最终凝结为两种文明对世界最直观的想象。“鸟”与“蛇”是这种分野最生动的缩影。西方，蛇还是“蛇”，鸟还是“鸟”；而中国，蛇广化为“龙”，鸟广化为“凤”，是中国人对自然元素的重新定义与升华，且不让龙与凤彼此对抗，而是让龙凤可以“呈祥”，这正是图腾广化之后两大意象的和解与共生。这种“呈祥”式的共生，也如中国的山与海、方与圆、儒与道，从来不是非此即彼，而是相生相成。这恰恰是图像文明最独特的气质：它不只赋予万物以“形”，更赋予“形”之间以“圆满”。
This divergence ultimately crystallized into the two civilizations' most intuitive imaginings of the world. The "bird" and the "serpent" are the most vivid epitomes of this divergence. In the West, the serpent remains a "serpent" and the bird remains a "bird"; in China, the serpent was generalized into the "dragon" and the bird into the "phoenix"—a redefinition and sublimation of natural elements by the Chinese, who did not set dragon and phoenix against each other, but allowed them to "present auspiciousness" together. This is precisely the reconciliation and symbiosis of the two great images after the generalization of totem, just as China's mountain and sea, square and circle, Confucianism and Daoism are never either-or, but mutually generating and mutually completing. This is precisely the most distinctive temperament of image civilization: it endows all things not only with "form," but also with "consummation" among forms.
05 为何音律广化研究精深而图腾广化研究起步晚
05 Why the Study of Tonal Generalization Is Deep and Refined While the Study of Totemic Generalization Began Late
这是一个极其关键的问题，也是一个深刻的文明现象。
This is an extremely crucial question, and a profound civilizational phenomenon.
第一，音律的困境迫使它必须被研究。03节所说的“声音稍纵即逝”，在西方学术史上被反复应对，并最终做成了一套体系。西方人不得不用几千年时间研究如何“固定”声音，如何记录、分析、教学和传播。这正是语言学、语义学、语法学诞生的根本原因。这些学科不是为了“发明”什么，而是为了解决一个迫在眉睫的问题：不研究声音，就无法掌控它。这是一条被“逼”出来的学术之路，发展得极为精密、系统，以至于今天我们习以为常地认为“研究语言”是知识体系的核心部分。结构主义语言学对语言与言语的区分，正是这种“固定声音”努力的巅峰成果。这一区分让学者第一次能够将“声音的规则”与“声音的使用”分开研究，从而建立了完整的语言学范式。列维-斯特劳斯进一步将这一范式扩展到人类学，巴特将其扩展到文化分析，整个结构主义思潮，本质上都是音律广化困境所催生的学术成果的延伸。
First, the predicament of tonality compelled its study. The "fleetingness of sound" described in Section 03 was repeatedly addressed in Western academic history and eventually built into a system. The West had no choice but to spend several thousand years studying how to "fix" sound—how to record it, how to analyze its structure, how to make it teachable and transmissible. This is precisely the fundamental reason for the birth of linguistics, semantics, and grammar. These disciplines did not emerge in order to "invent" anything, but to solve a pressing problem: if we do not study sound, we cannot master it. This is an academic path that was "forced" into being, and it developed to an extremely refined and systematic degree, such that today we take it for granted that "studying language" is a core part of humanity's knowledge system.The structuralist distinction between langue and parole is precisely the crowning achievement of this effort to "fix sound." This distinction enabled scholars for the first time to study "the rules of sound" and "the use of sound" separately, thereby establishing the complete paradigm of linguistics. Lévi-Strauss further extended this paradigm to anthropology, and Barthes to cultural analysis. The entire structuralist current of thought is, in essence, an extension of the academic achievements engendered by the predicament of tonal generalization.
第二，图腾太“自然”了，所以反而没有被“看见”。中国人几千年一直在用图腾思维，从《河图洛书》到九宫格，从汉字到四合院，但只是“用”它，从未“研究”它。就像鱼不会研究水，中国人身处图像思维的海洋中，反而忽视了海洋本身的结构。这不是不善于思考，而是图像思维太好用，不需要刻意分析就能发挥作用。一个孩子从小看汉字长大，自然掌握了图像与意义的对应，不必知道“六书”分类就能读写。这种“自然而然”，恰恰是图腾广化研究缺失的根本原因。中国历史上并非完全没有对图像符码的自觉思考，魏晋时期王弼提出“得意忘象”，是一次深刻的“图像哲学”探索，可惜后来没有发展成系统的“图像语法学”。“中国图腾广化的研究还可以再深入一些，如同西方音律语言学研究，中国图腾象形学研究的潜力巨大，它是中华文明一切形式的源泉。”图腾研究不是没有价值，而是远远没有被充分挖掘，它就像一片沉睡的大陆，等待着被系统地勘探。
Second, the totem was too "natural," and therefore was not "seen." The Chinese have been using totemic thinking for several thousand years, from the Hetu Luoshu to the nine-palace grid, from Chinese characters to the courtyard house. Yet people merely "used" it, and never "studied" it. Just as a fish does not study water, the Chinese, situated within an ocean of image thinking, overlooked the structure of that ocean itself. This is not because the Chinese were incapable of thinking, but because image thinking was too "serviceable"—it functioned without the need for deliberate analysis. A child who grows up seeing Chinese characters naturally grasps the correspondence between image and meaning; he need not know the classification of the "six scripts" in order to write and read. This very "naturalness" is precisely the fundamental reason for the absence of studies in totemic generalization. Chinese history was not entirely devoid of self-conscious reflection on image codes: during the Wei-Jin period, Wang Bi proposed "forgetting the image once the meaning is grasped," a profound exploration of "image philosophy," which regrettably did not develop into a systematic "grammar of images." "The study of Chinese totemic generalization can be pursued further. Just as the West studies tonal linguistics, the potential of Chinese totemic iconographic studies is immense; it is the source of all forms of Chinese civilization." Totemic research is not without value; it has simply been far from fully excavated. It is like a sleeping continent, awaiting systematic exploration.
第三，两种文明对“学问”本身的理解不同。前两点是现象，这一点则是它们的生成原因，这也是04节所讲分野在学问层面的具体化。西方学问的传统，是“追问结构”。从亚里士多德的范畴论到中世纪经院哲学的逻辑学，再到近现代的语言学、语法学、语义学，西方人始终在追问一个问题：我们如何精确地表达世界？这种追问最终指向的是语言与形式本身的结构、规则与边界。正因为音律天然具有结构的属性，它有音素，有音节，有句法，有逻辑，它成为了西方学问最理想的实验场。
Third, the two civilizations hold different understandings of "learning" itself. The first two points are phenomena; this point is their generative cause, and it is also the concretization, at the level of scholarship, of the divergence discussed in Section 04. The Western tradition of learning is "the interrogation of structure." From Aristotle's theory of categories to the logic of medieval scholasticism, and on to modern linguistics, grammar, and semantics, the West has always been interrogating a single question: how do we express the world precisely? This interrogation ultimately points toward the structure, rules, and boundaries of language and form themselves. Precisely because tonality possesses an inherently structural character—it has phonemes, syllables, syntax, and logic—it became the most ideal experimental ground for Western learning.
中国学问的传统，则是“追问关系”。《易经》六十四卦，每一卦都是一个意象单元，但中国人关心的不是意象本身，而是意象与意象之间的关联、变动与转化。辞象变卜，象是意象，辞是说明，变是转化，卜是预测。中国人不追问“一个意象是什么”，而是追问“这个意象与那个意象之间发生了什么”。这是一种完全不同的思维取向，它不追求结构的精确切割，而追求关系的整体把握。
The Chinese tradition of learning, by contrast, is "the interrogation of relations." In the sixty-four hexagrams of the Yijing, each hexagram is an image-unit, but what concerned the Chinese was not the image itself, but the association, change, and transformation between images. In the sequence ci, xiang, bian, bu—xiang is the image, ci is the explanation, bian is the transformation, bu is the divination. The Chinese did not ask "what is an image," but rather "what has happened between this image and that image." This is an entirely different orientation of thought: it does not pursue the precise dissection of structure, but the holistic grasp of relations.
正因为如此，中国的学问传统没有发展出系统的“图像语法学”，因为它从一开始就不认为“图像”需要被拆解为独立的单元。它认为图像的意义在于“关系”，卦与卦之间的关系，象与象之间的关系，辞与象之间的关系。这种思维方式的优势在于它能够把握整体；它的代价则是它难以被形式化、系统化地研究和传授。而今天，当数字技术需要我们重新理解“图像”的结构与逻辑时，这种古老的智慧才第一次面临被“拆解”的挑战。这，也正是图腾广化研究在当代最紧迫的价值所在。
For this very reason, the Chinese tradition of learning did not develop a systematic "grammar of images," because from the outset it did not consider that "images" needed to be disassembled into discrete units. It held that the meaning of an image lies in "relations"—the relations among hexagrams, among images, among explanations and images. The advantage of this mode of thinking is its capacity to grasp the whole; its cost is that it is difficult to formalize, systematize, study, and transmit. And today, when digital technology requires us to re-understand the structure and logic of "images," this ancient wisdom faces for the first time the challenge of being "disassembled." This is precisely where the most urgent contemporary value of totemic generalization studies lies.
06 从符码到更深远的人类文明
06 From Codes to a More Profound Human Civilization
图腾与音律的意义，远不止于它们自身。它们是人类认知跃升的关键一步，从巫鬼与神话的混沌感知中提炼出可重复、可传播的符码系统，并由此开启了此后一切系统化的思考。哲学与神学，是在这套符码语法基础上构建的意义框架；科学与玄学，则是在更精确的符码操作中不断拓展认知的边界。每一次跃升，都是符码系统的升级，从图像到文字，从声音到乐谱，从语言到代码。而今天，我们正在经历又一次跃升：数字技术正在将图像与声音重新融合，创造出前所未有的交流方式。这意味着，图腾与音律的古老智慧，正在以新的形态回到人类文明的中心。
The significance of totem and tonality extends far beyond themselves. They are a crucial step in humanity's cognitive ascent, distilling from the chaotic perception of shamanism and myth a repeatable, transmissible system of codes, and thereby inaugurating all subsequent systematized thought. Philosophy and theology are meaning-frameworks constructed upon the foundation of this code-grammar; science and metaphysics continuously expand the boundaries of cognition through ever more precise code operations. Every ascent is an upgrade of the code system: from image to writing, from sound to musical notation, from language to code. And today we are undergoing yet another ascent: digital technology is re-fusing image and sound, creating unprecedented modes of communication. This means that the ancient wisdom of totem and tonality is returning to the center of human civilization in new forms.
卡西尔的符号形式哲学为我们理解这一进程提供了根本性的框架。他认为，整个人类文化是反映人类心灵的无限连续的符号形式。人类凭借符号的建构功能建立起种种文化成果。从神话到语言、从艺术到科学，都是符号形式的不同表现。在这个意义上，图腾与音律不仅是两种具体的文化现象，更是人类建立符号宇宙的两条基本路径，一条通过凝固的图像，一条通过流动的声音。它们共同构成了卡西尔所说的“符号宇宙”的经纬。
Cassirer's philosophy of symbolic forms provides us with a fundamental framework for understanding this process. He held that the whole of human culture is an infinitely continuous series of symbolic forms reflecting the human mind. Through the constructive function of symbols, humanity establishes various cultural achievements. From myth to language, from art to science, all are different manifestations of symbolic forms. In this sense, totem and tonality are not merely two concrete cultural phenomena, but two basic paths by which humanity constructs its symbolic universe—one through congealed images, one through flowing sound. Together they constitute the warp and weft of what Cassirer called the "symbolic universe."
六十四卦系，卦象为图，卦辞为声，是时间维度的双系统符码，二者同出一源，互为表里。而九宫格，正是这一思维在空间维度上最完整、最系统的物质化呈现。
The sixty-four hexagram system—the hexagram image as figure, the hexagram statement as sound—is a dual-system code of the temporal dimension, both originating from the same source and serving as each other's inner and outer aspects. The nine-palace grid is precisely the most complete and most systematic materialized presentation of this thinking in the spatial dimension.
《旋回》中明确将九宫格定位为“天地要素的矩阵”与“方圆形式的格网”，它既是“士农工商的生活方式与生产方法”，也是“约定俗成的要素逻辑与要素辩证的思维矩阵”，还是“喜闻乐见的形式原型与形式秩序的空间格网”。三重属性在同一结构中叠加，意味着九宫格不仅是图像符码，更是一套生成空间秩序的元符码系统。它将图腾的“看”从二维平面延伸到了三维空间，从个体符号扩展为整体格网。在这个意义上，九宫格就是空间哲学的图腾，它将宇宙秩序、社会结构与日常生活编码为同一套可视、可建、可传的形式语言。空间哲学，正是对这套空间图腾的意义自觉与操作自觉，并将其转换成为中国实体环境建构的“元语言”。
In Spiral Return, the nine-palace grid is explicitly positioned as "the matrix of the elements of heaven and earth" and "the grid of square-and-round form." It is at once "the way of life and method of production of the four social strata—scholars, farmers, artisans, and merchants," "the conventionalized logic of elements and the thinking matrix of elemental dialectics," and "the spatial grid of the widely favored formal prototype and formal order." The superimposition of these three attributes within a single structure means that the nine-palace grid is not merely an image code, but a meta-code system generating spatial order. It extends the "seeing" of the totem from the two-dimensional plane to three-dimensional space, from individual symbols to an integral grid. In this sense, the nine-palace grid is the totem of spatial philosophy; it encodes cosmic order, social structure, and daily life into a single formal language that is visible, buildable, and transmissible. Spatial philosophy is precisely the meaningful self-awareness and operational self-awareness of this spatial totem, transforming it into the "meta-language" of China's construction of the physical environment.
九宫格的矩阵思维，在当代计算逻辑中找到了一个映照：从二进制向三进制的拓展。现今的计算机都使用“二进制”逻辑，真与假、是与否、0与1。但二进制并不能完美表达人类的真实想法，因为我们对问题的看法往往还有第三种状态：“不知道”或“不确定”。三进制逻辑中，数值“1”代表“真”，“0”代表“假”，“2”代表“未知”，这更符合人工智能的发展趋势，为模糊运算与自主学习提供了可能。这正是图腾思维的本质：不追求非此即彼的精确，而容纳“中间状态”“关联状态”“整体状态”。三进制与二进制的结合，才是完整的思维体系。图腾作为图像的集合，天然适合这种多进制、多层次、多维度的思维方式。这便是“矩阵思维”：“三维六合就是九宫立体矩阵……旋回‘一分为三’，‘三三得九’；自洽‘三合为一’，‘九九归一’。”它不是一条线，而是一张网，网里任何一个元素都与其他元素纵横关联、辩证统一。
The matrix thinking of the nine-palace grid finds a resonance in contemporary computational logic: the extension from binary to ternary. Today's computers all employ "binary" logic: true and false, yes and no, 0 and 1. But binary logic cannot perfectly express humanity's true thoughts, because our view of a problem often includes a third state: "not knowing" or "uncertain." In "ternary" logic, the value "1" represents "true," "0" represents "false," and "2" represents "unknown." Clearly, this mode of logical expression better accords with the developmental trajectory of computers in artificial intelligence, offering possibilities for fuzzy computation and autonomous learning. This is precisely the essence of totemic thinking: it does not pursue the precision of either-or, but accommodates "intermediate states," "relational states," and "holistic states." And the combination of "ternary" and "binary" constitutes a complete system of thought. The totem, as a collection of images, is naturally suited to this multi-base, multi-level, multi-dimensional mode of thinking. This is "matrix thinking": "The three dimensions and six directions constitute the three-dimensional nine-palace matrix… Spiral return 'divides one into three,' 'three times three makes nine'; self-consistency 'unites three into one,' 'nine times nine returns to one.'" This is a cognitive system entirely different from linear logic. It is not a line, but a net. In this net, no element is isolated; it is vertically and horizontally interrelated with other elements, dialectically unified.
我们正在经历一个深刻的时代转向：从音律到图腾的回归，从无形的声音到有形的图像，从线性的文字到可视化的数据。我们不再只用文字交流，也用表情符码、图片、短视频；不再只用语言记录知识，也用数据可视化、图表、思维导图。“空间要素的数字化已近完成，而形式数字化尚未健全……人类应该借助数字工具，由蓝绿结构，到城镇结构、矩阵结构，再到数字结构，构建数字共同体。”我们已经把世界“拆解”成数据，下一步是把数据重新“合成”为可理解的图像和形式。这不是“图腾取代音律”，而是一个“旋回”的过程：图腾与音律并非线性更替，而是在文明长河中此消彼长、交替主导，每一次交替都在更高层次上融合前一次的成果。“旋回是绝对的，自洽是瞬间的，而韧性则是相对的。”数字时代看似是图腾的复兴，实则是二者在更高维度上的再次融合。当人类真正理解了“看”与“听”、“形”与“声”的深层统一，就能创造出一种全新的交流方式，既有图像的直观与整体，又有声音的精准与流动。
We are undergoing a profound epochal turn: the return from tonality to totem, from invisible sound to visible image, from linear writing to visualized data. We no longer communicate solely through writing; we also use emoji codes, images, and short videos. We no longer record knowledge solely through language; we also use data visualization, charts, and mind maps. "The digitization of spatial elements is nearly complete, while the digitization of form remains unsound… Humanity should, with the aid of digital tools, proceed from the blue-green structure to the urban structure, to the matrix structure, and then to the digital structure, constructing a digital community." We have already "disassembled" the world into data, and the next step is to re-"synthesize" this data into comprehensible images and forms. This is not a process of "totem replacing tonality," but a process of "spiral return": totem and tonality do not succeed one another linearly, but wax and wane, alternately dominating, across the long river of human civilization—and each alternation integrates the achievements of the previous one at a higher level. "Spiral return is absolute, self-consistency is momentary, and resilience is relative." The digital age appears to be a revival of the totem, but is in fact a re-fusion of the two at a higher dimension. When humanity truly understands the deep unity of "seeing" and "hearing," "form" and "sound," it will be able to create an entirely new mode of communication, possessing both the immediacy and holism of the image and the precision and flow of sound.
图腾与音律不仅属于过去，它们同样指向未来。如果音律研究是一座已经建造了两千多年的城市，图腾研究就是一片刚刚被发现的大陆。图像语法、图际思维、数字图腾、空间智力，这些方向都在等待着被系统地开启。图腾广化对现实世界的影响，才刚刚开始显现，而它的潜力，是无穷无尽的。未来的文明交流，将不再是图像与声音的竞争，而是图像与声音的和鸣。
Totem and tonality belong not only to the past; they point equally toward the future. If tonal studies are a city that has been under construction for more than two thousand years, totemic studies are a continent only just discovered. Image grammar, inter-iconic thinking, digital totem, spatial intelligence—these directions all await systematic inauguration. The impact of totemic generalization upon the real world has only just begun to manifest, and its potential is inexhaustible. The civilizational exchange of the future will no longer be a competition between image and sound, but a harmony of image and sound.
结语
Conclusion
图腾，让我们把“看见”的世界固定下来、传递下去、跨越千年依然可识读，它是文明记忆的容器。音律，让我们把“听见”的世界流动起来、传播开来、跨越空间直接打动人心，它是文明情感的血脉。它们是人类彼此之间学习、交流、互鉴最核心的介质。
The totem enables us to fix the seen world in place, transmit it onward, and keep it legible across a thousand years; it is the vessel of civilizational memory. Tonality enables us to set the heard world into motion, disseminate it, and move the human heart directly across space; it is the bloodstream of civilizational emotion. They are the core media through which human beings learn from, communicate with, and draw mutual inspiration from one another.
数千年来，音律广化发展出了精密的语言学，让人类能够精确地分析世界；图腾广化则以汉字、九宫格、矩阵思维守护着图像的直观性与整体性。音律让世界变得可拆分、可理解；图腾让世界变得可关联、可把握。它们是人类认知世界的两条大河，各自奔涌，却在深处彼此呼应。而今天，数字技术正让“看见”与“听见”前所未有地融合。但这并非某一条河的终结，而是两条大河的交汇，它们将在更远处汇成一片更广阔的海洋。未来的人类，将同时掌握“画”与“唱”、“形”与“声”两套语法，与世界展开前所未有的对话。这，便是文明最持久的声音，最动人的形态，也正是人类献给世界最美好的礼赞。
Over several thousand years, tonal generalization developed a refined linguistics, enabling humanity to analyze the world with precision; totemic generalization, through Chinese characters, the nine-palace grid, and matrix thinking, safeguarded the immediacy and holism of the image. Tonality renders the world divisible and comprehensible; the totem renders the world relatable and graspable. They are two great rivers of human cognition, each surging forth on its own, yet echoing one another in the depths. And today, digital technology is fusing "seeing" and "hearing" as never before. But this is not the end of either river; it is the confluence of two great rivers, which will merge into a broader ocean farther on. Future humanity will master both grammars—"painting" and "singing," "form" and "sound"—engaging in an unprecedented dialogue with the world. This is the most enduring voice of civilization, its most moving form, and precisely humanity's most beautiful tribute to the world.
注：英文由 AI 辅助生成
Note：The English text is AI‑assisted generated.
作者简介
About the Author
姜洪庆，华南理工大学，博士，博导，教授级高级工程师；在气候地理与历史人文、空间理论与空间发展、城乡规划与城市设计等方向或领域展开了丰富的研究与实践，主持或主要参与完成多项国家级与省（部）级重大工程规划与课题研究项目；出版了跨学科学术专著《旋回：空间哲学及其规划实践》，获选为广东省国土空间规划四十载行业风云人物，是教育部第二批“全国高校黄大年式教师团队”（何镜堂建筑理论与创作实践教师团队）称号成员；是党和国家功勋荣誉表彰工作委员会办公室第一批“国家卓越工程师团队”（“两观三性”建筑创新实践与研究团队）称号成员。
Jiang Hongqing, Ph.D., doctoral supervisor, and professor-level senior engineer at South China University of Technology. His research and practice span climate geography and historical humanities, spatial theory and spatial development, and urban-rural planning and urban design. He has led or principally participated in numerous national and provincial (ministerial) major engineering planning and research projects. He is the author of the interdisciplinary academic monograph Xuanhui: A Philosophy of Space and Its Planning Practice. He was honored as one of the “Leading Figures of the Forty Years of Guangdong Territorial Spatial Planning.” He is a member of the second batch of the “National Huang Danian-style Teacher Team” of the Ministry of Education (the He Jingtang Architectural Theory and Creative Practice Teacher Team), and a member of the first batch of the “National Outstanding Engineer Team” (the “Two Views and Three Natures” Architectural Innovation Practice and Research Team) under the Office of the Work Committee for Party and State Meritorious Honors and Commendations.
