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.

The concrete analysis of the relationship between Chinese characters and its culture from the macroscopic and microcosmic viewpoint has been a very important research problem in the Chinese cultural background. Based on the “holographic theory of Chinese character”created by Mr. Xiao Qihong and its pursuit of the “holographic Chinese character high-effect pedagogy”, this paper first introduces his contribution and impact, then analyzes the deficiency with examples. What the researcher called science can not be illustrated scientifically, which sounds like jokes about Chinese characters, hence there are many places worth questioning and discussing and a deep reflection to weigh its pros and cons.