Ma Xulun thinks that he has presented new explanation on theother five scripts except pictograph. Aiming at framing the shapes ofobjects vividly, he holds a belief that the strokes of a character shouldbe changed, no matter straight or curved, according to the object itrepresents. Ma Xulun how to interpret the pictograph theory in accordance with this conviction? Firstly, pictograph characters are all pure single characters rather than compound ones. Secondly, the so-called “category pictograph” is namely to sketch shapes of objects according to their own categories. Pictograph characters are based on the shapes of practical objects, so fiction is forbidden. Thirdly, the original pictograph should be constructed as the way a picture drawn. Fourthly, pictographs, ideograms and radical-radical compounds are three different ways of creating characters, but the latter pair can also be called pictographs. Examining the pictograph theory of Ma Xulun and the specific illustrations he has cited, it is not hard for us to find that he has made a development in this field on the shoulders of predecessors.

馬敘倫認為他對六書，除了形聲之外，“五書皆立新詮”。本著“畫成其物，隨體詰詘”的信念，馬氏如何詮釋象形理論呢？其一，象形乃“純形獨體”。其二，“依類象形”即“依物之類而各象其形”，“本於物形，不可虛構”。其三，圖畫式地構擬原始象形文。其四，象形、指事、會意皆象形。考察馬氏的象形理論及其具體的疏證例子，我們不難發現馬氏在繼承前輩時賢的基礎上有所發展。

• 李春曉(福建師範大學文學院福州350007) | Li Chun-xiao